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To  the 


Motion  Picture 
Industry 

For  1931 

Twelve  Months  of 

Happiness  and 

Prosperity 


Simeon  Aller        Wesley  Smith 
and 

Du  Pont  Pathe  Film  Mfg.  Corp. 


January,  1931  The    INTERNATIONAL    PHOTOGRAPHER  One 


C     O      L     O      R 


with  your  Bell  &  Howell 

A  fact  of  interest  and  importance  to  cameramen  and  producers— your 
regular  Bell  &  Howell  Cameras  can  be  used  for  the  Bi-Pack  color  processes. 

A  special  intermittent  mechanism,  an  adaptation  of  the  famous 
B  &  H  pilot  pin  mechanism,  is  used  to  handle  the  two  negatives.  This 
unit  is  readily  interchangeable  with  the  regular,  ultra-speed,  or  silenced 
mechanisms.  Simply  by  changing  this  mechanism  and,  of  course,  the 
magazine  and  the  film,  any  Bell  &  Howell  Camera  can  be  converted 
for  color  from  monochrome,  and  vice  versa,  at  a  moment's  notice. 

The  new  mechanism  is  so  constructed  that  the  focal  plane  of  the 
Bi-Pack  films  (which  are  run  emulsion  to  emulsion)  is  in  exactly  the 
same  position  as  the  focal  plane  of  the  black  and  white  film  in  the 
regular  mechanisms.  There  is  no  necessity  for  any  change  or  adjust- 
ment on  the  camera  itself — the  focusing  ground  glass  is  left  in  the 
standard  position. 

♦  ♦  ♦ 

The  new  Cooke  Speed  Panchro  and  Panchro  lenses  are  also  ideal  for 
Bi-Pack  color  processes,  as  they  are  corrected  to  the  wave  lengths 
utilized  by  the  Bi-Pack  emulsions.  Their  special  correction  adapts 
them  equally  well  for  modern  monochrome  work  with  panchromatic 
film  and  incandescent  lighting. 

Write  for  further  information  on  B  &  H  Cameras  or  these  new 
Cooke  lenses. 


BELL    &    HOWELL 


BELL&HOWELL  CO.,  1849  Larchmont  Avenue,  Chicago,  Illinois 
New  York,  11  West  42nd  Street  •  Hollywood,  6324  Santa  Monica  Blvd. 
London   (B&H  Co.,  Ltd.)   320  Regent  Street    •    Established  1907 


Tivo 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  1931 


Scene  from  "Morocco" — A  Paramount  Picture 


NEW   STAR 

A 
NEW    SUN 


I 


N  winning  popularity  for  a  new  star  good  photog- 
raphy is  as  essential  as  a  good  play  and  good  acting. 
National  Photographic  Carhons  give  the  brilliant  illumi- 
nation and  the  same  quality  of  light  as  natural  sunlight. 
The  cameraman  asks  nothing  better.  Good  photography 
is  assured  by  this  new  sun  —  the  product  of  modern 
research,  up-to-date  manufacturing  facilities  and 
trained  technical  staff. 

and  the  star  will  appreciate  the  comfort  of 

the  stage — even  with  the  maximum  intensity  of  lighting 
— when  National  Photographic  Carbons  are  used. 


NATIONAL 

PHOTOGRAPHIC 


CARBONS 


BRANCH     SALES     OFFICES: 


Proved  by  test  the  most  economical  form  of  studio 
lighting.  Maximum  photographic  light  per  watt  of 
electrical  energy.    A  size  for  any   studio  arc   lamp.  .  . 

NATIONAL     CARBON     COMPANY,     INC. 

Carbon  Sales  Division         '        Cleveland,  Ohio 
NEW     YORK  PITTSBURGH  CHICAGO  SAN     FRANCISCO 

Unit  of  Union  Carbide     I  I  ■  ■  and  Carbon  Corporation 


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IN  TE  FNATIONA  L 
PHOTO  GRAPHE  R 


Official  Bulletin  of  the  International 
Photographers  of  the  Motion  Pic- 
ture Industries,  Local  No.  659,  of 
the  International  Alliance  of  The- 
atrical Stage  Employees  and  Molt- 
ing Picture  Machine  Operators  •/ 
the  United  States  and  Canada. 


Affiliated  with 

Los  Angeles  Amusement  Federa- 
tion, California  State  Theatrical 
Federation,  California  State  Fed- 
eration of  Labor,  American  Fed- 
eration of  Labor,  and  Federated 
Voters  of  the  Los  Angeles  Amuse- 
ment Organizations. 


Vol.    2 


HOLLYWOOD,  CALIFORNIA,  JANUARY,  1931 


No.   12 


"Capital  is  the  fruit  of  labor,  and  could 

not  exist  if  labor  had  not  first  existed. 

Labor,  therefore,  deserves  much  th( 

'  higher  consideration."- — Abraham  Lincoln. 

C  O 

N  T 

E  N  T  S 

Noiseless  Recording  Gets  Nearer.... 

4 

Varges  Flies  Over  Mount  Fuji 

.19 

Technicians  Pass  Wide  Film  and 

Chicago    

.24 

Discuss  New  Recording 

4 

By  Harry  Birch 

By  Fred  Westerberg 

Thirty-Three  Years  Old  Films 

Regulating  Density  of  Sound  Track  . 

.    o 

Product  of   Eastman 

.27 

By  H.  C.  Silent 

Wherein  We  Set  Forth  Our  Regrets. 

.28 

A  Couple  o'  Columns 

8 

Amateur  Department  

.29 

What  Happens  When  Cameraman 
Has  Day  Off 

9 

Real  Romance  of  "Home"  Films 

.29 

Hoke-um    

11 

With  Portable  Reproducer  Operator 

By  Ira 

In  Memoriam — William  Stuart  Adams 

.12 

30 

With  Films  Men's  Club  Finds  Way 

Looking  In  on  Just  a  Few  New  Ones. 

.14 

to  Boost  Church  Treasury 

.31 

By  George  Blaisdell 

How  Old  World  Artist  Home  Grew 

The  Joys  of  a  Location  (Cartoon)  .  . . 

17 

on  Bleak  Wasteland 

.36 

By  Glenn  R.  Kershner 

Picture  Photographed  by  War  Pigeon 

.37 

Technical   Editors 


The  International  Photographer  is  published  monthly  in  Hollywood  by  Local  659,  I.  A.T.S.E. 

and  M.  P.  M.  0.  of  the  United  States  and  Canada 
Entered  as  second  class  matter  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Calif.,  under 

the  act  of  March  3,  1879 
Copyright  1930  by  Local  659,  I.  A.  T.  S.  E.  and  M.  P.  M.  0.  of  the  United  States  and  Canada 

Howard  E.  Hurd,  Publisher's  Agent 

George  Blaisdell Editor      Lewis  W.  Physioc    1 

Ira  Hoke     ------     Associate  Editor      Fred  Westerberg      \ 

John  Corydon  Hill     -     -     -     Art  Editor 

Subscription  Rates — United  States  and  Canada,  $3.00  per  year.    Single  copies,  25  cents 

Office  of  publication,   1605  North  Cahuenga  Avenue,   Hollywood,   California.     HEmpstead    1128 

The  members  of  this  Local,  together  with  those  of  our  sister  Locals,  No.  644  in  New  York,  No. 
666  in  Chicago,  and  No.  665  in  Toronto,  represent  the  entire  personnel  of  photographers  now 
engaged  in  professional  production  of  motion  pictures  in  the  United  States  and  Canada.  Thus 
The  International  Photographer  becomes  the  voice  of  the  Entire  Craft,  covering  a  field  that 
reaches  from  coast  to  coast  across  the  nation. 
Printed  in  the  U.  S.  A.     i^siH^2     at  Hollywood,  California. 


Four 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  1931 


Noiseless  Recording  Gets  Nearer 


Western    Electric    Announces    New    Process    It 
Declares  Greatest  Advance   in   Talking- 
Pictures  in  Last  Four  Years 


ANEW  system  for  the  recording 
of  talking  pictures,  designed  to 
eliminate  extraneous  sounds, 
hissing  and  scratching  noises,  has 
been  announced  by  Electrical  Re- 
search Products.  It  is  known  as  the 
"New  Process  Noiseless  Recording," 
and  is  claimed  to  be  the  greatest  ad- 
vance in  talking  pictures  in  the  last 
four  years. 

The  new  process  will  soon  be  in  use 
by  many  of  the  major  producers.  The 
first  picture  using  this  new  process  of 
recording  is  Paramount's  "The  Right 
to  Love,"  starring  Ruth  Chatterton, 
now  being  shown. 

The  development  of  the  process  is  a 
result  of  many  years'  work  on  the 
part  of  sound  engineers  to  elimi- 
nate the  "ground  noises"  which  have 
marred  the  perfect  enjoyment  of  talk- 
ing pictures.  Now  it  is  possible  to  re- 
cord and  reproduce  in  theatres  the 
faintest  of  sounds  without  having 
them  "masked"  or  covered  up  by  these 
extraneous,  hissing  and  scratching 
sounds. 

Every  syllable  of  even  the  softest 
spoken  words,  whispering  and  the 
sobbing  of  a  distressed  heroine  now 
will  become  clearly  audible.  The  new 
process  produces  a  greater  realism 
and  is  a  great  step  toward  perfection 
of  the  talking  picture. 

Problem  of  Loud  and  Soft 

"One  of  the  major  problems  con- 
fronting sound  engineers  has  been  the 
extension  of  the  volume  range  of 
sound  recording  and  reproducing,"  ac- 
cording to  H.  G.  Knox  of  Erpi.  "This 
means  the  ability  to  reproduce  both 
louder  and  softer  sounds. 

"There  are,  of  course,  two  ways  of 
widening  the  volume  range  in  record- 
ing and  reproducing.  One  is  the  re- 
cording and  reproducing  of  higher 
volumes,  which  means  the  handling  of 
louder  sounds.  One  obvious  way  to  do 
this  is  by  increasing  the  amplifier 
power  and  the  capacity  of  the  loud 
speakers  to  handle  it.  This  presents 
practical  difficulties  in  that  it  would 
require  new  and  more  powerful  the- 
atre equipment. 

"The  second  method  is  to  broaden 
the  volume  range  by  making  it  pos- 
sible to  record  and  reproduce  sounds 
of  lower  volume.  To  do  this  necessi- 
tates reducing  the  extraneous  electri- 
cal, mechanical  and  photographic 
noises  heretofore  recorded  which  mask 
or  cover  up  the  desired  sounds. 

"In  the  theatre  this  means  simply 
the  refinement  and  better  maintenance 
of  its  sound  equipment.  In  recording- 
it  means  the  reduction  of  the  electri- 
cal and  mechanical  background  noises 
commonly  called  'ground  noise'  so  that 
every    syllable    of    very    soft    sounds, 


such  as  whispering  and  sobbing,  will 
become  clearly  audible. 

"One  hushed  gasp  out  of  utter  still- 
ness may  climax  a  dramatic  crisis.  A 
single  low  word  after  a  long  silence 
will  startle  the  waiting  audience.  It 
is  the  successful  solution  of  this  prob- 
lem that  makes  the  new  process  of 
noiseless  recording  possible. 

Increase  in  Sensitiveness 

"The  new  method  of  recording  re- 
quires some  additional  equipment  and 
changes  in  the  present  recording  sys- 
tem, which  produce  a  tremendous  in- 
crease in  sensitiveness  to  sounds  that 
are  to  be  recorded. 

"Motion  picture  audiences  are  well 
aware  of  the  hissing  or  scratching 
sound  which  becomes  audible  as  soon 
as  the  sound  apparatus  is  switched 
on.  In  other  words,  during  the  silent 
introductory  title  of  a  picture  every- 
thing is  quiet.  Just  before  the  record- 
ed portions  of  the  film  start  listeners 
are  warned  of  the  coming  sound  by 
the  scraping  ground  noise  coming 
from  the  screen. 

"While  in  good  recording  this 
ground  noise  is  not  particularly  offen- 
sive, it  nevertheless  means  that  any 
whispers  or  low  level  sounds  on  the 
film  must  be  raised  artificially  to  a 
relatively  high  volume  if  not  to  be 
masked  by  the  noise  of  the  system 
itself.  During  normal  dialogue  or 
music  the  presence  of  the  ground 
noise  fades  to  relative  unimportance 
and,  of  course,  during  loud  dialogue 
or  heavy  passages  of  music  it  is  com- 
pletely covered  up.  It  is,  therefore,  a 
question  of  making  'silence'  silent. 

Removing  the  Mechanical 

"While  the  problem  can  be  simply 
stated,  the  method  for  its  solution  has 
been  many  years  in  the  making.  At 
last,  however,  the  film  recording  ma- 
chine has  been  so  modified  that  all 
audible  evidences  of  its  mechanical 
nature  have  been  removed,  and  under 
the  new  process  it  is  possible  to  record 
the  lowest  whispers  in  thrilling  si- 
lence. 

"Fortunately  this  innovation  comes 
at  a  time  when  audiences  are  demand- 
ing more  realistic  sound  and  at  a  time 
when  producers  are  using  less  dia- 
logue and  more  silence.  To  be  effec- 
tive   the    silence    must    be    complete. 

During  dramatic  periods  the  ex- 
pression will  soon  be  true,  even  in  a 
talking  picture  theatre,  that  'it  was  so 
quiet  one  could  hear  a  pin  fall.' 

"As  with  every  startling  improve- 
ment higher  standards  of  perform- 
ance are  involved.  A  standard  of  de- 
veloping and  printing  of  films  higher 
than  the  already  exacting  technique 
of  sound  pictures  is  demanded.  The 
reproducing  equipment  in  theatres 
will     likewise     require     most    careful 


grooming  and  maintenance  if  it  is  to 
handle  noiselessly  pictures  recorded 
in  this  new  way.  By  and  large,  how- 
ever, noiseless  recording  is  the  great- 
est advance  in  talking  pictures  in  the 
last  four  years." 


Technicians  Pass   Wide  Film 

find  Discuss  New  Recording 
By  FRED  WESTERBERG 

A  MEETING    of    the    technician's 
branch  of  the  Academy  of  Mo- 
tion Picture  Arts  and  Sciences 
was   held    at    Universal    City    on    the 
evening  of   Dec.    11    under   the   chair- 
manship of  J.  T.  (Ted)  Reed. 

The  meeting  was  held  for  two  rea- 
sons. One  was  to  give  further  consid- 
eration to  the  wide  film  problem,  the 
other  to  demonstrate  noiseless  record- 
ing, a  recent  development  of  the 
Western  Electric  System. 

The  salient  features  of  silent  re- 
cording were  demonstrated  by  H.  C. 
Silent  of  Electrical  Research  Prod- 
ucts. Mr.  Silent's  complete  paper  will 
be  found  elsewhere  in  this  issue. 

Mr.  Reed  stated  it  was  his  experi- 
ence that  the  practical  elimination  of 
ground  noise  had  not  increased  the 
problem  of  camera  noise. 

No  added  sound-pr-oofing  of  the 
camera  blimps  was  found  necessary, 
at  least  at  his  studio,  he  said. 

Another  point  brought  out  was 
that  somewhat  closer  adherence  to  a 
gamma  of  unity  seemed  advisable 
from  the  standpoint  of  sound.  The 
problem  stated  in  simple  terms  is 
this:  The  sound  technicians  want  to 
develop  the  print  to  a  lower  gamma, 
which  means  less  time  of  development 
and  hence  less  contrast.  They  would 
rather  put  their  contrast  into  the  neg- 
ative. 

Siamese  Twins 

The  cinematographer,  on  the  other 
hand,  from  long  experience  has  found 
that  contrast  in  the  negative  is  not 
desirable,  that  a  soft  negative  and  a 
fully  developed  print  produce  the  best 
results  photographically. 

However,  as  long  as  sound  and  pic- 
ture are  Siamese  twins  these  condi- 
tions will  have  to  be  compromised  as 
well  as  possible.  Under  the  circum- 
stances one  cannot  very  well  tell  the 
other  to  jump  in  the  lake. 

The  proposed  discussion  of  wide 
film  faded  out  quickly  when  it  was 
found  that  the  demonstration  reels 
had  not  arrived.  Mr.  Reed  and  Mr. 
Du  Bray  spoke  a  few  kind  words  for 
the  deceased.  Mr.  Reed  sounded  a 
faint  note  of  encouragement  to  the 
cinematographer  when  he  said  that 
perhaps  after  the  current  depression 
is  over  and  all  phases  of  the  problem 
have  been  thoroughly  sifted  and  vari- 
ous groups  persuaded  to  relinquish 
their  pet  panaceas,  then  perhaps  some 
standard  might  be  adopted. 

Believe  it  or  not,  but  the  meeting 
closed  with  a  reel  showing  among 
other  things  how  to  catch  a  goe-duck, 
which  is  reallv  not  a  duck  at  all.  It  is 
a  clam,  but  what  a  clam! 


January,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Five 


Regulating  Density  of  Sound  Track 


By  Automatically  Doing  That  at  the   Recorder 

Technicians  Have  Reduced  Materially 

Effects  of  Ground  Noises 

By  H.  C.  SILENT 

Development  Engineer  Electrical  Research  Products,  Inc.,  in  Paper 

on  "Noiseless  Recording  Western  Electric  System" 

Read  Before  Academy  Technicians 

Copyright  1930  by  Academy  of  Motion  Picture  Arts  and  Sciences 


IT  IS  common  knowledge  that,  when 
a  sound  print  of  the  variable  den- 
sity type  is  played  in  a  reproduc- 
ing machine,  the  volume  of  the  repro- 
duction is  low  if  the  print  is  dark  and 
if  a  compensating  adjustment  is  not 
made  by  turning  up  the  fader.  In  ad- 
dition, the  ground  noise  of  the  film  is 
also  low. 

It  has  been  a  problem  to  take  ad- 
vantage of  this  latter  fact  with  the 
former  methods  of  recording,  because 
the  mere  act  of  printing  the  sound 
track  dark,  while  it  reduced  the 
ground  noise,  also  reduced  the  volume 
of  sound  from  the  film. 

This,  of  course,  was  undesirable. 
In  the  method  of  recording  which  is 
now  being  employed,  these  undesir- 
able effects  are  overcome  bv  regulat- 
ing the  density  of  the  sound  track  at 
the  recorder  automatically. 

It  is  well  known  that  there  is  a  par- 
ticular value  of  density  or  transmis- 
sion of  the  photographic  emulsion 
which  permits  of  the  loudest  volume 
from  the  film  without  exceeding  the 
photographic    limits    of   good    quality. 


Deviation  from  this  point  is  possible 
without  distortion  if  the  volume  or 
percentage  modulation  applied  to  the 
film  is  reduced.  This  can  be  taken 
advantage  of  by  causing  the  film  to  be 
dark  on  low  volume  modulation,  and 
as  modulation  becomes  higher  we 
lighten  the  film  to  the  point  where  it 
has  the  greatest  possible  carrying  ca- 
pacity. 

Noise  Worst  in  Quiet 

If  this  can  be  done  without  distort- 
ing the  volume  of  sound  reproduced 
by  the  film,  then  we  shall  have  a  con- 
dition where  the  ground  noise  from 
the  film  is  low  during  periods  of  low 
sound.  Thus  quiet  intervals  in  the 
sound  will  be  quiet,  and  the  ground 
noise,  even  though  it  rises  with  the 
sound,  will  always  be  more  or  less 
drowned  out  by  the  increased  sound, 
so  that  there  is  an  effect  of  consider- 
ably reduced  ground  noise. 

In  other  words,  there  is  produced  a 
constant  signal  to  noise  ratio  in  which 
the  signal  is  always  very  predominant 
over  the  noise,  and  since  the  noise  is 


most  noticeable  in  the  quiet  intervals, 
there  is  a  very  real  reduction  in  the 
amount  of  the  ground  noise. 

There  are  a  number  of  methods  by 
means  of  which  this  variation  in  the 
transmission  of  the  film  can  be  effect- 
ed. If  we  examine  for  a  moment  the 
light-valve  employed  in  the  Western 
Electric  system  of  recording  we  shall 
see  how  one  of  these  methods  can  be 
applied.  In  the  past  this  system  has 
employed  a  light-valve  in  which  two 
ribbons  were  normally  spaced  .001" 
apart. 

These  ribbons  were  vibrated  by  the 
sound  currents,  movin"  but  a  slight 
distance  on  weak  currents  and  a  con- 
siderable distance  on  loud  currents. 
The  strongest  currents  would  just 
bring  the  ribbons  into  contact  as  they 
vibrated.  The  space  between  them 
was  therefore  greater  than  necessary 
to  permit  the  free  vibration  of  the 
ribbons  on  weak  currents. 

Vibrating  Ribbons 

A  sound  track  recorded  under  this 
method  had  a  constant  density  cor- 
responding to  the  one  mil  spacing  be- 
tween the  ribbons  and  this  density 
was  caused  to  vary  with  the  voice  cur- 
rents but  maintained  always  its  con- 
stant average. 

Under  the  new  system  of  recording 
an  auxiliary  electrical  circuit  is  asso- 
ciated with  the  light-valve,  so  that 
when  the  sound  currents  are  small 
and  the  ribbons  need  vibrate  over  but 
a  very  small  amplitude  they  are 
brought  close  together  and  this  small 
vibration  almost  entirely  fills  the 
space  between  them.  Then  as  the 
sound  increases  in  loudness,  so  that 
the    ribbons    are    required    to    vibrate 


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Figure  1   (left) — Approximate  variation  of  reproduced  noise    vs.    density    of    soioitl    track.     Figure    2 — Light     votive 

carrying  capacity  vs.  input. 


Ten 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  1931 


Al  Brick  Tells  of  1925  Eclipse  Shooting 


OUR  Brother  Al  Brick,  writer  of  this  com- 
munication, is  not  only  a  first  class  cine- 
matographer,  but  he  is  a  veteran  and  ex- 
pert  aviator.      He   was    formerly    an    instructor 
of  flying-  at  both  Kelly  and  Mitchel  Fields,  and 
has  to  his  credit  more  than  900  after-war  hours 


Charles  Lehman  at  his  camera.     Inset,  Al  Brick 


flying  with  passengers  and  on  photo- 
graphing trips. 

Here  Brother  Brick  tells  interest- 
ingly of  his  experience  photograph- 
ing the  total  eclipse  of  the  sun,  in 
New  York  City,  January  24,  1925: 

Two  months  before  the  eclipse  I 
started  working  and  getting  informa- 
tion on  it.  I  first  went  to  see  Dr. 
David  S.  Todd,  professor  of  astron- 
omy of  Amherst  University,  and  what 
he  told  me  about  the  sun  was  surely 
a  lot  more  than  I  ever  learned  in 
school.  To  show  this  astronomical 
event  on  the  screen,  he  said  it  would 
be  necessary  for  me  to  have  a  50  inch 
lens.  This  took  my  hat  off,  as  where 
could  I  get  a  lens  with  a  50  inch  focal 
length?  He  told  me  and  I  got  it. 
Then  I  begged  another  brother  cam- 
eraman, Charles  Lehman,  of  Local 
644,  to  help  me.  We  secured  a  Debrie 
camera  and  mounted  this  F.  4.5  lens 
on  it.  This  lens  had  no  diaphragm,  so 
we  made  one  with  about  an  F.  16 
stop ;  also  used  a  red  filter,  as  every- 
one knows  shooting  the  sun  was  a 
bright  subject;  then  when  the  total- 
ity came  we  had  to  shoot  wide  open 
and  take  the  filter  out,  as  it  was  so 
dark  that  it  looked  like  night  and 
there  was  nothing  on  the  film,  shoot- 
ing with  the  lens  and  shutter  wide 
open  and  one  picture  cranking. 
117  Seconds  to  Work 

The  totality  from  start  to  finish 
was  less  than  two  minutes  (117  sec- 
onds). As  the  sun  started  to  show 
from  behind  the  moon  we  had  to  put 
our  filter  and  diaphragm  back  again; 
we  also  had  to  crank  it  all  one  picture 
cranking,  as  we  had  only  400  foot 
rolls  of  negative.  The  time  the  eclipse 
started  was  8:05  a.  m.,  and  finished 
at  10:08  a.  m,  just  a  little  over  two 
hours  The  totality  was  at  9:14  a.  m., 
and  we  had  to  get  it  all  in  on  400  feet, 


so  we  had  to  space  our  cranking,  and 
this  was  done  very  successfully.  Next 
our  problem  was  to  pan  and  tilt  the 
camera  so  it  would  stay  with  the  sun 
as  it  traveled.  We  put  two  motors  on 
this  and  it  was  some  job,  as  we  had 
to  gear  it  so  that  it  would  move  with 
the  sun  at  this  time  of  day,  so  it  will 
be  seen  that  we  could  only  try  it  out 
every  morning  between  8  and  10 
when  the  sun  would  shine,  and  we 
surely  lost  a  lot  of  mornings  with 
clouds. 

The  clouds  gave  us  something  else 
to  worry  about,  for  if  it  should  be 
cloudy  on  the  day  of  the  eclipse  there 
would  be  no  pictures  from  the  ground 
and  the  movie  fans  could  not  see  the 
eclipse.  As  T  understand  it,  the  eclipse 
happens  only  every  100  years  in  the 
same  place,  therefore,  to  make  sure 
we  would  get  a  picture  of  it,  I  ar- 
ranged for  a  plane  from  the  army 
field  to  fly  above  the  clouds  and  get 
what  we  could  with  a  12  in.  lens  on 
an  Akeley,  which  would  be  very  small. 
We  made  the  lens  solid  to  the  frame 
of  the  camera,  so  that  it  would  not 
vibrate. 

When  everything  was  all  set  for  the 
morning  of  January  14,  I  let  Charles 
Lehman  run  the  camera  with  the  50- 
inch  lens  on  the  ground  while  I  went 
up  eighteen  thousand  feet  in  the  army 
plane.  Well,  it  was  a  very  fine  morn- 
ing, clear  and  cold,  and  Lehman  got 
very  good  shots,  while  I  got  shots  you 
could  not  see  and  two  frozen  legs. 

The  camera  used  by  Lehman,  as  I 
have  said,  was  a  Debrie  and  a  box 
tube  with  the  lens  mounted  on  it.  I 
had  light  rings  in  the  wooden  box- 
like tube  and  the  lens  was  centered  to 
the  aperture  of  the  camera.  We  drove 
the  camera  with  a  motor  that  would 
flash  one  pcture  at  a  time,  as  we  de- 
sired, always  stopping  with  the  shut- 
ter closed. 


GOERZ 

CINE  LENSES/ 


are  optically  accurate 
and  photographically 
effective. 


Kino-Hypar  f:2.7  and  f:3, 
35  to  100  mm.  focal  lengths. 
Simple  in  design  .  .  .  con- 
sists of  only  three  lenses 
.  .  .  affords  microscopic 
definition  in  the  image. 
Free  from  flare  or  coma. 
Fine  covering  power. 

Telestar  f:4.5,  V/&  to  l3l/2" 
focal  lengths — an  ideal 
telephoto  series  for  long 
distance  shots  and  close- 
ups  .  .  .  excels  because  of 
practical  absence  of  dis- 
tortion. 

Cinegor  f:2  and  f:2.5,  a 
Superspeed  series;  ideal 
for  work  under  unfavorable 
light  conditions. 

A    new    catalog    listing    the   com- 
plete  line   of    Goerz    Lenses   and 
Accessories    will    be    mailed    on 
request. 


C.RGOERZ  AMERICAN  OPTICAL  Co 

319  B  EAST  34™  ST.     NEWYORKCITy 


Wants  to  Know  What's  Said 

According  to  a  recent  report  from 
Trade  Commissioner  George  R.  Canty, 
in  Paris,  with  the  absence  of  the 
French  and  German  "talkie"  the  Am- 
erican film  is  non-existent  in  Switzer- 
land, except  for  the  films  of  certain 
well  known  stars,  states  a  German 
press  report. 

The  Swiss  public  is  asking  for 
talkers  in  a  language  it  understands, 
naturally.  In  Italian  Switzerland 
the  Italian  film  is  popular,  but  the 
French  and  German  film  finds  a  ready 
market  in  all  other  parts  of  the 
country. 


Pratt  Will  Boss  West 

George  C.  Pratt,  for  many  years 
vice  president,  director,  member  of 
the  executive  committee  and  general 
counsel  of  the  Western  Electric  Com- 
pany and  also  a  director  and  general 
counsel  of  Electrical  Research  Prod- 
ucts, has  resigned  these  appoint- 
ments and  offices.  He  has  been  elected 
a  vice  president  of  Erpi  and  will  also 
assume  new  duties  as  special  counsel 
for  that  company. 


Pariche  Flies  to  San  Juan 

Esselle  Pariche,  who  is  spending 
the  winter  in  the  South,  writes  from 
San  Juan,  Porto  Rico,  that  he  made 
the  trip  from  Miami  by  air  and  will 
return  to  that  point  through  the  West 
Indies.  He  says  he  is  getting  some 
worthwhile  material  from  the  air  and 
on  the  ground. 


January,  1931 


T  h 


Plane  Language 

Lyman  Broening's  young  son,  Al- 
bert, recently  experienced  the  misfor- 
tune of  dropping  his  dad's  pet  cast 
iron  plane  on  the  cement  floor  of  the 
workshop.    The  result  was  disastrous. 

That  afternoon  when  quiet  reigned 
once  more  on  the  Broening  homestead 
his  mother  asked  Albert  what  his 
daddy  said  when  the  plane  was  broken. 

"Shall  I  leave  out  the  swearwords?" 

"Certainly,"  said  his  mother. 

Albert  pondered  a  moment,  then 
sprung  this  one: 

"In  that  case  he  didn't  say  anything, 
Ma." 

And  Sweet  Sixteen? 

Nowadays  a  girl  is  never  "fat." 
She's  70  millimeter. 

Dog  Star? 

Amateur  Astronomer  —  Can  you 
name  a  star  with  a  tail? 

Amateur  Photographer — Sure.  Rin- 
Tin-Tin. 

Those   Hollywood   Boys 

First  Chorus  Girl — Gosh,  that  ham 
actor  is  vain.  He's  been  in  front  of 
that  make-up  mirror  for  an  hour  ad- 
miring his  good  looks. 

Second  Chorus  Girl — That  ain't 
vanity,  Betty.    That's  imagination. 

Figures  Don't   Lie 

Director — Cleopatra  is  one  of  the 
most  remarkable  figures  in  all  history. 

Actor  (coming  out  of  trance) — Is, 
or  had? 

Them    Days   Are  Gone   Forever 

Advertisement  in  Newspaper — No 
one  has  ever  lost  a  penny  in  the  Guar- 
anty Building  and  Loan  Association. 

Supercargo 

Editor  Blaisdell — Yeah,  I'm  going 
out  to  plav  golf  Thanksgiving  morn- 
ing, and  then  by  way  of  creating  an 
appetite  shall  hit  up  the  fresh  wine — 


INTERNATIONAL    PHOTOGRAPH 

— —  -_  „ IT. 


E  R 


Eleven 


Hoke-  urn 

By  Ira 

although  that  will  be  what  the  cub  re- 
porters call  a  work  of  supererogation. 
John    Hill     (almost    audibly) — You 
mean   superirWgation? 

Scarcely  Ambidextrous 

First  Cameraman — Jimnr-  the  as- 
sistant, says  he  wants  a  wife  like 
Venus  de  Milo. 

Second  Cameraman — Kinda  par- 
ticular, isn't  he? 

First  Cameraman — Not  exactly.  He 
says  when  they  come  like  that  they 
can't  throw  things  at  him. 

Quick,  Watson! 

Assistant  Cameraman — That  second 
cameraman  told  a  pack  of  lies  about 
me. 

First  Cameraman — You're  lucky. 

Assistant  Cameraman — Whadda  ya 
mean  lucky? 

First  Cameraman — Certainly.  Just 
suppose  he  had  told  the  truth. 

What   Part? 

First  Actor — I  played  the  father  of 
the  heroine  in  that  famous  play, 
"Money,  Mortgage,  or  Sink." 

Second  Actor — Was  it  much  of  a 
part? 

First  Actor — I  should  say  so.  I  was 
supposed  to  have  died  twenty  years 
before  the  play  began. 

The  Good  Old  Days 

Sign  on  steam  shovel  excavating 
one-half  of  Sunset  Boulevard  for  new 
paving. 

"Quit  kicking — This  was  once  a 
cowpath. 

The  Height  of  Something 

The  night  following  the  closin"-  of 
the   doors   of   the    Guaranty    Building 


and  Loan  Association  the  janitor  evi- 
dently forgot  to  turn  off  some  of  the 
lights,  for  above  the  building  in  its 
accustomed  brilliance  flamed  all  night 
long  the  big  electric  sign 

"Guaranty  Pays  6%  on  Your  Sav- 
ings." 

Best  Seller 

First  Cameraman — I  hear  Jimmie 
quit  the  camera  game.  Did  he  inherit 
some  money? 

Business  Agent — No.  He  invented  a 
radio  device  which  turns  off  the  set 
whenever  a  jazz  orchestra  comes  on. 

This  Is  a  Hard  One 

First  Asst. — See  that  actor  over  on 
"B"  set? 

Second  Asst.  —  Yeh.  What  about 
him? 

First  Asst. — A  town  in  Massachu- 
setts is  named  after  him. 

Second  Asst. — No  foolin'!  What 
town? 

First  Asst. — Marblehead. 

Couldn't  Help  It 

Assistant — My  eyes  are  weak. 
Cameraman — That's     not     strange. 
They  grew  in  a  weak  spot. 

Shocking 

M.  Hall — This  is  my  electric  suit. 

Henry  Prautsch  —  Your  electric 
suit? 

M.  Hall— Yeh.  I  wired  for  it,  and 
had   it  charged. 

Recorder  Not  Ready- 
Mixer — I  don't  know  whether  to  go 
to  the  wedding  or  not. 

Electrician — Who's  getting  married  ? 
Mixer — I  am. 

Page  Beesemeyer 

Maury  Kains  will  now  sing  that 
favorite  Scotch  song  entitled  "For 
Two  Cents  I'd  Throw  This  Penny 
Away." 


May  Be  All  Right  in  Russia, 
But  Don't  Try  It  in  America 

A  RECENT  number  of  the  Kras- 
nafa  Gazeta,  of  Moscow,  carried 
an  item  in  connection  with  cine- 
mas that  may  seem  somewhat  aston- 
ishing to  persons  unfamiliar  with 
present-day  conditions  prevailing  in 
the  Soviet  State. 

The  item,  in  short,  consists  in  the 
announcement  that  admission  to  cin- 
emas may  now  be  secured  at  certain 
houses  in  exchange  for  payment  in 
kind. 

Old  galoshes  are  prominently  men- 
tioned in  this  connection.  Old  clothes, 
bags,  small  amounts  of  potatoes,  eggs, 
flowers,  etc.,  also  are  accepted.  It  is 
for  the  box-office  cashier  to  judge 
whether  or  not  the  various  odds  and 
ends  presented  are  sufficient  to  jus- 
tify the  admission  of  the  prospective 
patron. 

Such   conditions   are   probably   par- 


ticularly prominent  in  the  rural  dis- 
tricts (covering  practically  the  en- 
tire country),  where  the  shortage  of 
currency   is    most   felt 

However,  the  extraordinary  gen- 
eral poverty  of  the  population  and 
the  enormous  prices  of  every  victual 
or  manufactured  product  (a  worn- 
down  second-hand  pair  of  shoes  often 
costs  more  in  Moscow  than  a  pair  of 
brand  new  ones  in  Europe)  probably 
has  been  contributory  in  creating  this 
situation. 


stalled  two  American  sound  and  talk- 
ing   film    outfits. 

A  new  theatre  is  to  be  constructed 
by  Arnaldo  Roco  in  La  Plata.  It  will 
have  a  seating  capacitv  of  1500  ana 
be  the  largest  house  in  the  city.  It 
is  expected  to  be  open  to  the  public 
by  the   end   of   Febiuary. 


South  America  Building 

An  important  new  motion  picture 
theatre,  the  Broadway,  has  just  been 
opened  to  the  public  in  Buenos  Aires, 
bv  its  proprietors,  Emsesa  Augusto 
Alvarez.  The  theatre  has  a  seating 
capacity  of  2000,  is  provided  with  a 
modern  American  installation  cost- 
ing 30t>,000  pesos  of  ventilating  and 
air  heating  and  cooling  machinerv  de- 
signed to  insure  the  comfort  of  the 
patrons    in    all    seasons,    and    has    in- 


No.  15  Men  on  Job 

Director  Monta  B^ll  is  making 
scenes  for  "Fires  of  Youth,"  the 
drama  which  stars  Lew  Ayres  with 
Genevieve  Tobin  featured,  and  the  ac- 
tion takes  place  in  the  mailing  room 
of  a  metropolitan  newspaper.  To  ob- 
tain the  utmost  in  realism,  Bell  is  not 
depending  on  regular  motion  picture 
extras  for  the  scene,  but  has  engaged 
an  entire  mailing  room  crew. 

These  fifteen  men  are  all  members 
of  Mailers  Union  No.  9,  and  are  seen 
in  swift  action,  wrapnin  an  entire 
edition  of  the  paper  for  mailing.  A 
number  of  the  men  will  be  heard  as 
well  as  seen. 


Twelve 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  1931 


In  zJXCemoriarn 


William  Stuart  Adams,  died  December 
■1,  1930,  following  a  relapse  believed 
to  be  due  to  the  effects  of  jungle  fever 
contracted  while  in  the  East  with 
"The  White  Captive"  company  and 
which  caused  his  return  home  before 
the  completion  of  the  production.  A 
widow  and  two  children  survive,  as 
well  as  a  brother,  J.  Stuart  Blackton. 
Mr.  Adams  served  overseas  in  the 
Signal  Corps.  He  was  a  member  of 
Clinton  Lodge  of  Brooklyn  as  well  as 
of  Local  659.  Burial  was  in  Holly- 
wood Cemetery  with  Masonic  rites 


Wilcox  Now  Vice  President 

in  Charge  Erpi  Operations 

AT  A  MEETING  of  the  directors 
of  Erpi,  Herbert  M.  Wilcox  was 
elected  vice-president  in  charge 
of  operating-.  Wilcox  has  been  operat- 
ing- manager  of  the  company,  having 
had  charge  in  that  capacity  of  In- 
stalling and  servicing  Western  Elec- 
tric  talking   picture   apparatus. 

Wilcox  has  been  associated  with 
President  J.  E.  Otterson  for  fifteen 
years.  When  Erpi  was  formed  in  Jan- 
uary, 1927,  Wilcox  went  along  with 
the  new  organization  as  operating 
manager. 

In  this  latter  connection  he  has 
seen  the  department  grow  from  a  nu- 
cleus of  six  to  a  present  day  nation- 
wide organization  with  a  personnel 
of  1250.  It  maintains  offices  in  38 
cities  from  which  are  serviced  some 
4800  theatres  equipped  with  sound 
systems. 


Crabtree  Names  Committees 

Appointments  for  the  personnel  of 
the  committees  to  serve  the  Society  of 
Motion  Picture  Engineers  for  the  fol- 
lowing year  have  been  made  by  J.  I. 
Crabtree,  president. 

The  committees  and  their  chairmen 
are  as  follows:  Color,  W.  V.  D.  Kel- 
ley,  DuChrome  Film  Systems,  Holly- 


wood; convention,  W.  C.  Kunzmann, 
National  Carbon,  Cleveland;  member- 
ship, H.  T.  Cowling,  Eastman,  Roch- 
ester; papers,  0.  M.  Glunt,  Bell  Tele- 
phone Laboratories,  New  York;  prog- 
ress, G.  E.  Matthews,  Eastman,  Roch- 
ester; publicity,  Will  Whitmore,  Erpi, 
New  York;  historical,  C.  L.  Gregory; 
sound.  H.  B.  Santee,  Erpi;  standards, 
A.  C.  Hardy,  Massachusetts  Institute 
of  Technology,  Cambridge;  studio 
lighting,  M.  W.  Palmer,  Paramount, 
Long  Island. 


Non-Commercial  Indies  to 
Hold  Convention  in  Brussels 

THE  second  Congress  of  the  In- 
dependent Cinema  —  the  first 
meeting  took  place  in  Switzer- 
land last  year — was  this  year  held  at 
the  Palais  des  Beaux  Arts,  Brussels, 
from  November  28  to  December  1. 
The  meeting  reunited  most  of  the 
European  producers,  writers  and  crit- 
ics who  have  devoted  some  part  of 
their  activity  to  non-commercial  film 
production. 

Two  public  festivals,  one  of  which 
was  devoted  to  the  silent  film  and  the 
other  to  talkers,  were  held.  The  si- 
lent film  festival  was  devoted  to  top- 
ical films  and  adventure  in  cinema 
work.    A   series  of  reports  was   pre- 


sented. The  debates  concerned  three 
questions:  The  international  organ- 
ization of  cinema  clubs,  intellectual 
film  production,  and,  lastly,  the  rela- 
tions between  the  cinema  and  intellec- 
tual life  in  general. 

The  debates  were  held  in  three  lan- 
guages— in  English,  French,  and  Ger- 
man. The  Professional  Film  Press 
Association  and  several  groups  of 
authors  agreed  to  patronize  this  Con- 
gress. 


Adolphe  Osso  Extending 

M.  Adolphe  Osso,  head  of  the  So- 
ciete  des  Films  Osso,  has  just  re- 
turned from  Brussels,  where  he  is 
planning  to  establish  the  Belgian 
Societe  des  Films  Osso.  The  Osso 
company  also  will  have  branches  in 
Geneva,  Cairo  and  Algiers,  and  agen- 
cies in  the  French  key  cities — Lvons, 
Lille,  Bordeaux,  Strasbourg,  and  Mar- 
seilles. 


Gaumont  Sends  Mission 

A  special  mission  of  technicians 
has  been  commissioned  by  Gaumont 
of  Paris  to  visit  the  principal  film 
trade  centers  of  the  world.  The  mis- 
sion is  authorized  to  study  the  equip- 
ment of  the  ideal  sound  film  studio. 
The  first  objective  of  *~he  mission  will 
be  London. 


77ms  striking  camera  study  might  have  been  photographed  on  African  sands,  but  it  wasn't.    We  have  the 
perfectly  good  word  of  Woodbury  its  subject  is  none  other  than  Nigel  De  Bruliere,  photographed  in  char- 
acter nearly  a  decade  ago  in  a  Hollywood  picture   the  title  of  which  long  since  has  been  forgotten. 


Here  is  a  picture  of 
an  occasionally 
turbulent   bit 
of  the  homestead 
of  Uncle  Sam — 
in  Mount  Lassen, 
his  only  active 
volcano  within  that 
boundary.    It  ivas 
photographed   by 
Edward  B.  Anderson 
from   Reflection 
Lake,  not  so  far 
from  the  summit 
of  10,480  feet 
elevation. 


E. 


While   location 

hunting  in  the 

high  Sierras 

A.   Schoeubn  a  in 


pauses  a  moment 

and   photographs 

this   spot   where 

Rush  Creek  enters 

Silver  Lake. 

A  fishin'  rod  and 

corncob   would 

seem  to  be  indicated 

— yes,    and    the 

right  kind  of  bait. 


>5^. 


@ream  oth Stills 


«.*!^?0* 


°6rk*v 


Perhaps  after  all 

that  corncob  and 

fishin'  pole   should 

have    been    reserved 

for  this  canal 

in  Phoenix — 

whether  there  be 

any  fish  in  it  or  not. 

Paul  Ivano 

surely  picked  out 

a  paradise  for 

a   lazy   man,   one 

on  which  even 

a   go-getter   well 

might    stub    his    toe. 

And   speaking 

about  bait — 


William  Grimes  does 
not  propose  to  be 
outdone  in  the  way 
of  teasing  a  loafer; 
he  contributes  this 
alluring  bit  of 
recreation  ground  as 
he  saw  it  in  the 
private  Buseh 
gardens  in  Pasa- 
dena.   Don't  gaze 
too  long  on  that 
settee  under  the 
big  oak. 


@ream  at  ft  Stills 


Bert  Lynch  shows  us  the  view  from  the  fort  at  Mazatlan,  Mexico,  as  old  Sol 

fiery  departure  for  the  day. 


getting   rendu  to  put  on   a 


January,  1931  The    INTERNATIONAL    PHOTOGRAPHER  Thirteen 


It's  to  Your  Interests 

IT  is  becoming  common  knowledge  that  in 
Eastman  Panchromatic  Negative,  Type  2, 
there  has  been  grouped  the  greatest  combi- 
nation of  film  qualities  ever  placed  at  the 
disposal  of  the  cameraman,  director  and  pro- 
ducer. From  its  remarkably  accurate  and  uni- 
form panchromatic  balance  to  its  tough,  wear- 
resisting  base,  it  offers  you  every  opportunity 
to  convey  your  art  unimpaired  from  lot  or 
studio  to  the  screen.  If  you  are  not  already 
using  Eastman  "Pan,"  Type  2,  it  is  decidedly 
to  your  interest  to  try  it  in  your  next  picture. 

EASTMAN  KODAK  COMPANY 

ROCHESTER,  NEW  YORK 


J.  E.  Brulatour,  Inc.,  Distributors 

New  York  Chicago  Hollywood 


Fourteen 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  1931 


Looking  In  on  Just  a  Few  New  Ones 


Lincoln 

Karl  St  runs,  Cameraman 

GRIFFITH  has  scored  again.  He 
has  done  more  than  build  a 
drama  and  simultaneously  to 
create  entertainment.  As  Arhss  did 
for  Disraeli  and  for  England  so  he 
has  done  for  the  Great  President  and 
for  the  United  States. 

He  has  made  to  live  again  more 
than  sixty-five  years  after  his  pass- 
ing a  world  historical  character; 
painted  him  not  as  he  is  idealized  in 
the  school  books,  but  with  swift 
strokes  shown  the  man  as  he  was 
from  his  majority  to  his  death,  in  his 
failures  and  his  victories,  in  his 
weakness  and  his  strength;  vivid  al- 
ways, flashing  from  moments  of  gay- 
ety  to  periods  of  despair. 

One  series  of  scenes  alone,  all  too 
brief  and  yet  how  long  they  seem— 
those  between  Lincoln  and  Ann  Rut- 
ledge — will  stand  out  as  long  as  a 
print  shall  survive  the  wear  of  the 
elements.  For  poignancy  they  will 
hold  equal  rank  with  that  scene  of 
Henri  Kraus  as  Jean  Valjean  in  the 
old  Pathe  version  when  he  buys  a 
doll  for  a  child;  or  with  Rene  Adoree 
when  as  a  French  peasant  in  "The 
Big  Parade"  she  tries  to  maintain 
pace  with  the  truck  bearing  away  her 
American  lover. 

In  all  these  scenes  Griffith  has  had 
a  great  and  an  equal  partner — Wal- 
ter Huston.  This  actor's  previous 
work  on  the  screen,  brief  but  of  wide 
range,  leads  one  to  expect  much  of 
him  as  Lincoln.  The  expectation  is 
justified,  even   bettered. 

In  the  selection  of  his  supporting 
cast    the    director    shows    no    diminu- 


By  GEORGE  BLAISDELL 

tion  of  the  judgment  that  has  marked 
his  previous  choices  of  the  men  and 
women  who  play  the  parts  of  his  pic- 
tures, although  it  may  be  remarked 
that  always  has  he  seemed  to  lean 
more  heavily  on  his  own  intuition  of 
a  given  actor's  ability  and  his  own 
skill  in  being  able  to  extract  from 
that  player  the  particular  quality  he 
sought  than  in  any  discoverable  rev- 
erence for  the  great  mogul  Box  Office 
Name. 

His  selections  in  the  present  in- 
stance have  been  happy  ones.  Una 
Merkel  as  Ann  Rutledge  bulks  big  in 
a  brief  part.  Kay  Hammond  as  Mary 
Todd  sacrifices  her  own  feelings  in  the 
portrayal  of  the  historically  ambi- 
tious, domineering  woman  who  was 
the  first  to  sense  the  greatness  resid- 
ing in  the  uncouth  country  legislator, 
to  pierce  the  veil  of  the  future  and 
trace  the  outlines  of  the  high  road  he 
would  travel. 

Hobart  Bosworth  will  be  eminently 
satisfactory  to  the  South  in  his  por- 
trayal of  General  Lee  and  so,  too, 
most  surely  will  Henry  Walthall  as 
the  general's  aid.  Then  there  are  Os- 
car Apfel  as  Stanton  and  Fred  War- 
ren as  General  Grant.  The  portrayal 
of  John  Wilkes  Booth  falls  to  Ian 
Keith,  an  interpretation  strikingly 
melodramatic  as  might  have  been  ex- 
pected of  an  actor  of  that  period  and 
especially  of  one  harboring  that  ac- 
tor's ideas  or  illusions,  if  you  will. 

Stephen  Vincent  Benet's  story  and 
the  continuity  and  dialogue  on  which 
Gerritt  Lloyd  collaborated  palpably 
were   designed    to    avoid    the    pitfalls 


that  handicapped  the  exhibition  of 
"The  Birth  of  a  Nation."  There  was 
no  attempt  at  avoidance  of  the  facts 
of  history,  but  there  was  no  dwelling 
on  the  phase  of  the  black  man. 

The  word  "rebel,"  to  which  the 
South  in  other  years  took  such  vio- 
lent exception,  is  used  with  frequency, 
but  Lincoln  is  made  to  remark  and 
undoubtedly  with  entire  truth  that 
"rebels  are  not  traitors." 

The  treatment  of  Lee  is  most  sym- 
pathetic, with  Lincoln  giving  him  un- 
stinted honor  and  deep  respect  for  his 
ability  as  a  soldier  and  his  quality  as 
a  man. 

The  production  has  been  strikingly 
staged  and  finely  photographed.  There 
are  flashes  of  soldiers,  in  camp  and  on 
the  march.  The  departure  of  northern 
troops  and  then  of  southerners  for  the 
front  constitute  thrilling  bits.  But 
war  in  its  grimmer,  physical  phase  is 
minimized.  What  is  emphasized  is  the 
tragedy  that  rides  behind  the  scenes, 
in  the  days — and  nights — of  the  man 
who  with  thousands  of  soldiers  made 
the  supreme  sacrifice  to  the  end  that 
the  Union  might  live. 

As  a  portrayal  of  that  phase  of 
American  history  so,  too,  the  picture 
deserves  to  live. 


This  is  a  view  not  cf  the  "rockbound  coast  of  Maine"  which  Robert  Palmer  and 
his  camera  so  enticingly  present  to  us.  Rather  is  it  of  the  "golden  shores  of 
California,"   of  Carmel  Bay  from  Monterey,  photographed  on  a  sunless  day 


ToPable  David 

Teddy  Tetzlaff,  Cameraman 

THE  commendatory  language  that 
has  been  employed  in  describing 
the  acting  ability  of  Richard 
Cromwell  during  the  making  and  fol- 
lowing the  completion  by  Columbia  of 
"Tol'able  David"  would  seem  to  have 
been  justified  in  reasonable  degree.  If 
his  appearance  in  the  name  role  of 
this  picture  represents  his  initial 
work  before  the  camera  then  indeed 
has   he   "got   something  on   the   ball." 

It  was  good  business  for  Columbia 
to  fortify  and  insure  itself  by  sur- 
rounding the  lad  with  an  unusually 
competent  cast,  but  so  far  as  the  new- 
comer was  concerned  it  was  not  essen- 
tial. The  precaution  merely  resulted 
in  lifting  what  would  have  been  a 
good  picture  into  one  of  smashing 
proportions  -  -  incidentally  thereby 
swelling  the  gross  receipts  enough 
several  times  to  cover  the  added  ex- 
pense. 

Two  important  contributing  factors 
were  supplied  by  Benjamin  Glazer, 
who  prepared  for  the  screen  this  tale 
by  Joseph  Hergesheimer,  and  John 
Blystone,  the  veteran  who  directed  it. 
Restraint  was  the  outstanding  char- 
acteristic in  the  interpretation  of  this 
grim  story  of  mountaineers  whose  life 
and  work  teach  them  to  think  much 
and  talk  little — and  with  deliberation. 

There  were  times  when  the  action 
seemed  slow,  but  it  was  not  because 
the  tempo  was  illogical  but  rather 
due  to  the  impatience  of  the  man  out 
front  to  see  the  sequence  brought  to 
a  head. 

The  story  is  not  all  drab;  there 
are  lighter  moments  to  lessen  the  ten- 


January,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Fifteen 


sion  of  the  sterner  drama  brought 
into  the  picture  following  the  entrance 
into  the  peaceful  Hepburn  home  of 
the  three  renegade  relatives  from  an- 
other town. 

Joan  Peers  played  the  daughter  of 
Amos  Henburn,  interpreted  by  Henry 
Walthall,  a  small  part  well  done. 
Helen  Ware  was  Mrs.  Kinemon,  the 
mother  of  David,  her  work  standing 
out  all  the  way;  Edmund  Breese  was 
the  deliberate  elder  Kinemon  and 
George  Duryea  the  latter's  elder  son; 
James  Bradbury  senior  was  the  store- 
keeper, who  like  others  of  his  associ- 
ates lifted  into  a  major  part  what 
might  have  been  a  minor;  Barbara 
Bedford  was  the  young  mother  of  the 
infant  Kinemon,  who  incidentally 
stole  the  show  the  few  moments  it 
held  the  screen,  while  Noah  Beery, 
Harlan  Knight  and  Peter  Richmond 
abased  themselves  that  there  might 
be  a  trinity  of  tough  Hepburn  eggs 
to  make  the  story  possible.  And  they 
surely  were  tough. 

Those  who  by  reason  of  vivid  recol- 
lections of  the  grim  if  interesting 
predecessor  of  the  present  version 
have  hesitated  to  look  in  on  the  Co- 
lumbia subject  are  overlooking  a  pic- 
ture that  is  worth  seeing,  a  well- 
planned  story  finely  made  in  all  de- 
partments. 


The  Right  to  Love 

Charles  Lang,  Photographer 

THE  adaptation  of  Susan  Glas- 
pell's  "Brook  Evans"  will  be 
much  talked  about  in  the  days 
to  come  following  the  release  of  "Tne 
Right  to  Love."  Contributing  to  that 
will  be  several  major  factors.  Two  of 
these  stand  out  above  the  others. 

In  the  first  and  most  important 
place,  Paramount  for  one  has  got 
down  to  earth,  forgotten  Hollywood 
and  its  atmosphere  or  the  atmosphere 
of  any  other  large  community  where 
the  few  are  convinced  the  world  re- 
volves around  themselves,  and  made  a 
picture  around  "just  folks."  While 
the  average  person  may  have  no  oc- 
casion to  convert  his  handkerchief 
into  a  sponge,  nevertheless  the  pic- 
ture, because  of  sheer  strength  of 
story,  grips  the  beholder  throughout 
its  seventy-five  minutes  of  running. 

Secondly,  the  production  marks  the 
introduction  to  the  public  of  the  West- 
ern Electric's  new  process  noiseless 
recording,  claimed  by  its  sponsors  to 
be  the  greatest  advance  in  talking 
pictures  in  the  last  four  years.  It  will 
be  hard  for  the  man  in  the  street  to 
accept  that  statement  as  100  per  cent. 

It  is  the  expert  who  most  readily 
will  grasp  the  importance  of  the  in- 
novation. Only  too  well  he  knows  the 
meaning  of  "ground  noises,"  an  ex- 
pression beyond  the  ken  of  the  lay- 
man. There  is  one  thing,  however, 
that  instantly  will  impress  the  lay- 
man as  he  watches  the  unfolding  of 
"The  Right  to  Love,"  and  that  is  the 
absolute  distinctness  of  the  slightest 
sounds  constituting  part  of  the  dra- 
matic action — a  whisper,  a  sob  so 
faint  as  more  truly  to  be  a  trace  of 
a  sigh. 

One  of  the  first  effects  of  the  new 
device  will  be  the  enjoyment  experi- 
enced  by   those   of   defective  hearing. 


While  it  is  reliably  reported  the  pic- 
ture under  review  was  partly  com- 
pleted before  the  noiseless  recorder 
was  put  to  work,  nevertheless  it  is  be- 
yond the  realm  of  doubt  that  a  real 
boon  has  been  bestowed  upon  the  hard 
of  hearing.  Though  the  foregoing 
parallel  is  an  exaggeration,  at  the 
same  time  there  is  a  basis  for  re- 
marking the  difference  between  the 
old  and  the  new  is  like  the  sudden  ces- 
sation of  the  buzzing,  desultory  con- 
versation taking  place  in  a  room 
where  one  person  presumably  has  the 
floor. 

Coming  back  to  the  picture  itself, 
it  is  one  most  assuredly  not  to  be 
missed.  Altogether  it  is  pretty  near  a 
one-person  production,  and  that  per- 
son Ruth  Chatterton.  In  many  of  the 
scenes,  because  of  her  playing  botn 
mother  and  daughter,  frequently  two 
of  her  are  seen  simultaneously  on  the 
screen — and  that  phase  of  the  sub- 
ject, due  to  the  boldness  and  skill 
with  which  it  is  approached,  consti- 
tutes another  story. 

The  background  is  of  plain  people, 
some  of  whom  are  possessors  of  the 
narrow  minds  found  in  farming  com- 
munities as  in  other  places.  Tragedy 
early  stalks  into  the  tale,  flowing  nat- 
urally from  a  sequence  of  events 
most  simple  and  logical  in  inception. 
From  the  moment  the  sweetheart  of 
Naomi  Kellogg  is  killed  in  a  thrash 
ing  machine,  mirth  ceases  as  an  en- 
tertainment factor. 

It  is  a  grim  life  ahead  of  the  girl 
who  soon  after  knows  she  is  destined 
to  become  a  mother.  That  she  wel- 
comes the  prospect  in  that  her  lover 
will  live  again  gives  an  eerie,  uncanny 
touch  like  that  bestowed  by  mild  in- 
sanity, but  convincing  all  the  way. 

Oscar  Apfel  is  thoroughly  true  to 
the  life  in  his  portrayal  of  the  farmer 
with  the  direct  mind  who  beyond  the 
good  name  of  his  daughter  sees  noth- 
ing. Equally  homelike  and  convincing 
is  Veda    Buckland   as   mother  of   Na- 


omi. Irving  Pichel  as  Caleb  Evans, 
whose  wide-eyed  offer  of  marriage  to 
the  expectant  mother  the  latter's 
father  induces  her  to  accept,  provides 
another  strong  interpretation  of  rural 
Puritanism  paralleling  that  of  Apfei's. 

Paul  Lukas,  whose  name  appears 
second  in  the  billing  does  not  enter 
the  production  until  it  is  at  least  sev- 
en-eighths down.  His  all  too  brief 
appearance  contributes  to  the  strength 
of  the  finale,  that  of  the  wooing  of 
the  American  girl  who  comes  to  a 
sudden  conclusion  to  be  less  of  a  sap 
and  more  of  a  human. 

It  cannot  exactly  be  said  the  cast 
bristles  with  names  of  box  office 
value,  a  fact  at  any  time  devoid  of 
significance  so  far  as  concerns  quality 
of  acting.  The  producer-distributor 
very  likely  will  discover  this  strong 
story  so  competently  and  sincerely 
played  by  all  in  a  long  line  under  the 
sympathetic  direction  of  Richard 
Wallace  that  it  very  quickly  will  reg- 
ister as   a   genuine   hit. 

Cameraman  Lang  took  measures  to 
see  the  sound  men  did  not  bag  all  the 
honors  on  the  recording  side.  The  pic- 
ture is  only  a  few  hundred  feet  on  its 
way  when  the  photographic  angle  for- 
cibly is  borne  in  on  the  consciousness 
of  the  beholder — especially  the  trav- 
eling shots  by  the  brookside. 


Min  and  Bill 

Harold  Wenstrom,  Cameraman 

THE  M-G-M  production  of  "Min 
and  Bill"  was  several  weeks 
down  at  the  Carthay  when  this 
reviewer  got  his  first  lok  at  it.  Be- 
tween the  opening  night  and  the 
aforesaid  initial  view  much  had  been 
heard  regarding  the  pictm-e — without 
the  utterance  so  far  as  had  been  ob- 
served of  a  single  funeral  note. 

As  a  consequence  expectations  were 
high — probably  too  high.  The  unprec- 
edented  forethought    of    removing    a 


There  is  a  svggestion  of  stem  drama,  a  reminiscence  of  turbulent  days,  of  low- 
spoken,  serious  Vigilantes,  in  Mr.  Palmer's  peaceful  scene  of  early  morning 
mists  and  this  ages-old  veteran  of  the  California  Redwood  Highway 


Sixteen 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  193 1 


At  the  suggestion  of  Joe  Walker,  Carl 
O.  Swenson  has  designed  and  built  a 
practical  fade  in  and  out  attachment 
for  a  Mitchell  camera  either  in  a 
blimp  or  booth.  It  may  be  attached 
without  drilling  extra  holes.  Arms 
may  be  detached  by  loosening  thumb- 
screw when  camera  is  used  on  the  out- 
side of  booth  or  blimp.  The  arms  are 
operated  from,  outside  the  booth  by 
two  small  flexible  cords 

handkerchief  from  its  accustomed  ple- 
beian niche  on  the  hip  to  the  more 
patrician  abode  in  the  upper,  outer 
coat  pocket  proved  to  be  an  action  en- 
tirely unnnecessary.  As  a  measure  of 
preparedness    it   was    a   total    loss. 

But  it's  a  mighty  good  picture  for 
a'  that,  especially  for  those  who  have 
seen  life  from  the  angle  of  those  of — 
and  there  pops  up  that  plebeian  thing 
again.  Anyway,  it  is  a  tale  of  the 
water  front,  of  those  who  make  their 
living  on  the  water  and  of  those  who 
make  their  living  from  those  of  the 
immediately  mentioned  category.  It 
is  a  tale  of  plain  people,  some  of  them 
workers  and  wholesome  and  at  least 
one  who  seemed  to  toil  not  neither  did 
she  spin,  but  nevertheless  was  she  ex- 
ceedingly interesting. 

The  strength  of  the  story  rides  in 
four  characters — Min  and  Bill,  played 
respectively  by  Marie  Dressier  and 
Wallace  Beery;  Nancy,  the  waif  be- 
friended by  Min,  portrayed  by  Dorothy 
Jordan,  and  Bella,  who  proves  to  be 
the  mother  of  Nancy,  in  the  life 
Marjorie  Rambeau. 

Here  are  three  veterans  who  would 
make  much  of  even  a  weak  tale.  And 
it  is  in  the  convincing  performance 
of  this  trinity  that  is  to  be  found  the 
reason  for  the  "pull"  of  the  story 
which  persists  from  the  openng  to  the 
finish. 

The  dialogue  of  this  waterfront  tale 
is  noteworthy,  and  for  it  the  credit 
goes  to  two  women — Frances  Marion 
and  Marion  Jackson.  It  has  the  qual- 
ity of  spontaneity;  in  other  words,  of 
expressing  the  characters  in  their  own 
language,  not  only  those  of  the  fem- 
inine persuasion  but  of  the  lesser  num- 
ber of  the  masculine  as  well. 


For  after  all  the  story  is  mainly  of 
women — of  a  boarding  house  keeper 
who  befriends  from  childhood  the 
daughter  of  a  mother  who,  speaking 
conservatively,  follows  ways  quite  un- 
conventional. 

The  conflict  comes  in  the  efforts  of 
the  old  woman  to  protect  the  girl 
growing  to  womanhood  especially  from 
knowledge  of  the  mother  and  incident- 
ally from  attentions  of  those  men  she 
mistrusts,  and  on  the  other  side  of  the 
house  to  keep  the  mother  from  know- 
ing even  that  the  child  is  living. 

The  finish  is  a  tragedy  of  blood  that 
there  may  be  no  tragedy  of  the  soul — 
that  the  daughter  at  last  may  have  a 
break  and  be  happy  and  that  the  black- 
mailing mother  shall  in  no  way  inter- 
fere with  the  even  tenor  of  her  peace- 
ful existence.  It  would  seem  to  qual- 
ify as  a  happy  ending  in  spite  of  the 
tragedy. 

George  Hill  directed,  and  commend- 
ably. 


Doorway  to  Hell 

Barney  McGill,  Cameraman 

THE  chief  exploitation  line  em- 
ployed by  Warners  in  its  adver- 
tisements of  "Doorway  to  Hell" 
set  forth  that  this  was  the  subject 
"gangland  dared  Hollywood  to  make." 
If  the  statement  have  any  more  foun- 
dation than  the  brainstorm  of  an  alert 
advertising  man  it  is  difficult  to  un- 
derstand. Certainly  the  picture  is  the 
first  agency  yet  uncovered  possessing 
any  tendencv  to  humanize  or  make 
less  disreputable  or  in  any  manner 
to  palliate  the  trade  of  bootlegging 
killer. 

Instead  of  daring  Hollywood  to 
make  the  picture  the  parties  allegedly 
quoted,  if  they  be  more  than  mythi- 
cal, should  have  expressed  willingness 
to  pay  several  millions  for  its  mak- 
ing. 

The  production  was  one  that  stood 
high  enough  in  the  official  Warner  es- 
timation to  be  given  a  dual  presenta- 
tion in  Hollywod  and  downtown  Los 
Angeles.  The  public  response  to  the 
confidence  reposed  seemed  to  indicate 
it  was  fully  justified. 

Those  members  of  that  sizable  pro- 
portion of  picturegoers  who  abomi- 
nate underworld  stuff  but  went  along 
in  order  to  see  Lew  Ayres  were  am- 
ply repaid.  If  they  went  fully  ex- 
pecting to  scoff  they  remained  to 
praise. 

The  factors  contributing  to  this  re- 
sult were  practically  all  that  enter 
into  the  making  of  a  picture — story, 
dialogue,  script,  direction,  photogra- 
phy, sound,  acting  and  editing. 

Archie  Mayo's  direction  was  nota- 
ble, a  statement  which  seemingly 
falls  short  of  the  mark.  The  script 
was  from  a  story  by  Roland  Brown, 
with  dialogue  by  George  Rosener. 

One  who  for  the  first  time  looks 
upon  the  screen  work  of  Ayres  in  this 
pictue  is  pretty  sure  to  be  deeply  im- 
pressed by  the  capacity  of  this  young 
man  for  portrayal  of  serious  roles, 
whether  dramatic  or  tragic.  He  has 
the  earmarks  of  experience — abun- 
dance of   poise,   the   words   flow   trip- 


pingly from  his  tonp^e  and  as  if  they 
were  his  own,  and  he  is  convincing  al- 
ways whether  smilingly  suave  or 
frigidly  menacing. 

Why  the  producers  choose  to  exploit 
James  Cagney  along  with  Ayres  as 
chief  in  interest  is  their  own  busi- 
ness— really  of  course  due  to  Cagney 
having  been  placed  under  contract. 
The  work  of  this  player  in  an  un- 
sympathetic part  is  entirely  satisfac- 
tory; in  fact,  worthy  of  praise. 
But  in  the  particular  picture  under 
discussion  Robert  Elliott,  playing 
O'Grady,  captain  of  detectives,  is  the 
only  person  whose  part  and  whose 
performance  are  of  a  quality  enti- 
tling him  to  share  honors  with  the 
leading  player.  They  are  as  distinc- 
tive if  not  even  more  so  than  were 
those  of  Thomas  Jackson,  the  inter- 
preter of  the  screen  detective  in 
"Broadway."  It  was  Elliott,  by  the 
way,  who  created  the  stage  detective 
in  "Broadway." 

The  cast  is  top  notch,  with  Dorothy 
Mathews  in  the  role  of  the  unfaith- 
ful wife  of  the  hero;  young  Leon  Jan- 
ney  as  the  brother  of  the  latter; 
Kenneth  Thomson  as  the  major  of 
the  military  academy,  and  Jerry 
Mandy  and  Noel  Madison  as  gang 
leaders. 


Follow  the  Leader 

Larry  Williams,  Cameraman 

NOT  without  reason  aplenty  is 
Ed  Wynn  an  idol  of  the  New 
Yorker,  male  and  female.  His 
characterization,  by  himself  or  other- 
wise, as  the  perfect  fool  is  entirely 
within  the  truth.  Not  only  is  he  the 
perfect  fool,  but  he  does  and  says 
things  that  in  the  hands  and  mouths 
of  others  are  absurdities,  just  plain 
silly;  coming  from  him  they  may  be 
devastating  in  their  fun. 

In  the  present  instance  Para- 
mount's  New  York  studio  has  provid- 
ed Wynn  with  a  skeleton  of  a  story, 
even  with  one  partly  clothed,  taking 
for  its  purpose  the  musical  comedy  by 
William  K.  Wells,  George  White  and 
De  Sylva,  Brown  and  Henderson. 
Gertrude  Purcell  and  Sid  Silvers  were 
responsible  for  the  screen  play,  with 
Al  Parker  staging  the  dialogue.  Nor- 
man Taurog  directed. 

"Follow  the  Leader"  is  of  New 
York,  of  gunmen  and  of  the  stage. 
It  is  as  an  ex-vaude  turned  wai.er 
that  Crickets  is  deserted  by  the  gang 
of  Hudson  Dusters  to  serve  a  bad 
man  of  fierce  reputation,  the  while 
they  hide  in  an  adjoining  room. 
Through  an  accident  the  b.  m.  is 
floored,  with  the  result  Crickets 
against  his  wishes  becomes  gang 
leader. 

But  why  waste  space  talking  about 
a  plot?  Aids  and  abettors  in  the  tom- 
foolery that  runs  through  the  picture 
are  Ginger  Rogers,  feminine  lead; 
Stanley  Smith,  Lou  Holtz,  whose  Jew- 
ish characterizations  may  be  a  riot 
in  New  York  and  may  not  be  in  many 
smaller  communities;  Lida  Kane,  Eth- 
el   Merman   and   Bobby   Watson. 

If  you  want  to  laugh  surely  some 
and  maybe  much  don't  miss  Ed  Wynn. 
(Continued  on  Page  18) 


January,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Seventeen 


THE.    T075  Or  A  LOCATION 


Eighteen 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  1931 


Looking  In  on  Just  a  Fezv  Nezv  Ones 


(Continued  from  Page  15) 


And  without  any  fear  you  make  take 
along  the  family,  old  and  young.  And 
if  one  thinks  he  is  himself  something 
of  a  fun-maker  he  will  have  opportu- 
nity to  learn — perhaps — how  to  knock 
'em  over  with  bare  hands  and  seem- 
ingly empty  head. 


The  Command  Performance 

Charles  Schoenbaum,  Cameraman 

JAMES  CRUZE  is  credited  with 
presenting  "The  Command  Per- 
formance," from  the  play  by  C. 
Stafford  Dickens  and  produced  by 
Samuel  Zierler.  Cruze  also  is  and  al- 
ways has  been  credited  with  being  a 
good  showman — and  a  clean  one — 
which  is  a  very  substantial  reason  for 
believing  he  is  not  responsible  for  the 
intrusion  into  this  picture  of  dialogue 
bits  that  take  it  out  of  the  family 
class  even  as  they  invite  the  inter- 
ference of  the  ever-eager  censors. 

The  best  thing  in  the  picture  is  its 
conclusion — and  this  is  said  not  in 
sarcasm  but  with  entire  sincerity.  It 
is  a  moving  and  dramatic  sequence, 
one  that  will  top  the  finish  of  nine 
out  of  ten  major  productions. 

It  attains  this  result  in  spite  of  the 
fact  the  tale  is  of  the  "Prisoner  of 
Zenda"  kind — of  mythical  kingdoms, 
of  costumes,  of  the  takings  of  dual 
roles  by  the  male  principal;  in  spite 
of  the  fact  the  theme  is  one  that  gen- 
erally has  been  accepted  as  long  since 


relegated  to  the  limbo  of  threadbare 
plots. 

So  when  the  action  of  the  final  se- 
quence rises  to  real  dramatic  heights 
we  know  it  must  have  been  of  genu- 
ine strength  so  completely  to  over- 
come the  preceding  illusion  killing 
handicaps. 

Maude  Fulton  and  Gordon  Rigby 
wrote  the  continuity  and  dialogue, 
which  were  directed  by  Walter  Lang. 
W.  C.  Smith  and  Frederick  Lau  su- 
pervised the  recording. 

The  subject,  slated  for  Tiffany  re- 
lease, was  staged  in  a  manner  becom- 
ing a  major  production.  At  the  head 
of  the  cast  was  Neil  Hamilton,  play- 
ing both  Peter,  an  actor  impressed 
with  his  own  importance,  and  Prince 
Alexis,  whose  chief  decision  in  life 
seemed  to  be  his  determination  not  to 
marry  the  Princess  Katerina,  charm- 
ingly portrayed  by  Una  Merkel.  Inci- 
dentally the  working  out  of  the  tale 
indicated  the  princess  was  not  quite 
so  much  of  an  all-around  wicked  ter- 
ror as  the  dialogue  would  have  led  us 
to  believe.  Apparently  she  was  not 
even  mildly  wicked. 

Helen  Ware  as  the  mother  of  the 
dissolute  prince  who  declined  to  lend 
his  personal  presence  to  the  task  of 
wooing  the  princess  of  the  neighbor- 
ing principality  handled  her  part  as 
her  admirers  expected  her  to  do, 
especially    those    who    had    seen    and 


heard  her  eloquent  Defense  of  the 
West  in  "The  Virginian." 

Albert  Gran  as  the  democratic 
father  of  the  princess  supplied  the 
good  humor  and  comedy,  and  not 
even  the  king's  ascribed  addiction  to 
walnuts,  with  its  opportunity  for 
cheap  wisecracks,  entirely  succeeded 
in  destroying  the  flavor  of  his  jolly 
outlook  on  life.  Lawrence  Grant  as 
the  premier  carried  the  part  with  dis- 
tinction. 

Other  players  in  an  excellent  cast 
were  Thelma  Todd,  Vera  Lewis, 
Mischa  Auer,  Burr  Mcintosh,  Wil- 
liam Von  Brincken,  Richard  Carlyle 
and  Murdock  MacQuarrie. 

And  this  is  a  gool  place  to  reit- 
erate it  was  Miss  Merkel,  aided  by 
effective  dialogue  and  sympathetic 
direction  as  well  as  by  the  foil  sup- 
plied by  Hamilton,  who  in  the  final 
sequence  by  the  force  and  tenderness 
of  her  appeal  supplied  the  high  spot 
of  the  production  and  sent  home  in 
highly  chastened  mood  a  somewhat 
hostile  preview  house  that  had  come 
determined  to  chide. 


Talkers  Bring  Dividends 

The  Sudfilm  Company  of  Germany, 
after  having  paid  no  dividend  for  the 
four  past  years,  now  proposes  a  divi- 
dend of  15  per  cent.  The  sharehold- 
ers meeting  was  held  in  December. 

Sudfilm  has  had  some  outstanding 
successes  lately  with  the  Richard 
Oswald  production  "Dreyfus,"  the 
Eichberg  picture  "Night  Birds,"  and 
Rene  Clair's  "Sous  Les  Toits  de 
Paris." 


Complete  Portable  Sound  Equipment 
The 

Audio  Camex  System 

Camera  Silencing 

Cover 

THIS  IS  THE  FIRST  CAMERA  COVER  TO 

BE  OFFERED  TO  THE  CRAFT. 

IT  HAS  BEEN  MADE  TO  FIT  A  MITCHELL 

OR  BELL  &  HOWELL  CAMERA. 

PRICE — $50.00 


January,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Nineteen 


Varges  Sails  Over  Japan 's  Fuji  and 
Records  Description  for  Fox  Nezvs 


ner  in  which  the  big,  heavily  loaded 
craft  was  skillfully  maneuvered  on 
every  occasion  when  exceptional  skill 
was  needed. 


ON  September  3  last,  the  first 
sound  pictures  of  Mount  Fuji's 
summit  from  an  airplane  were 
recorded  by  Ariel  Varges  and  Paul 
Heise  of  the  Fox  Movietone  News. 
Heretofore  the  only  pictures  of  the 
locale  were  stills. 

The  flight  took  four  hours,  the 
plane,  a  big  tri-motored  Fokker  be- 
longing to  the  Japan  Air  Transport 
Company,  leaving  the  field  at  Tachi- 
kawa  at  10:30  o'clock. 

Although  the  sky  was  overcast 
Varges  decided  to  take  a  chance  on 
finding  the  cloud  ceiling  not  thick 
enough  to  hide  the  mountain's  summit 
and,  as  a  result,  he  got  what  he  be- 
lieves are  some  of  the  most  artistic 
and  beautiful  "shots"  that  he  has 
taken  in  a  long  career  of  news  photog- 
raphy. 

"We  climbed  the  first  6,000  feet  in 
about  a  half  hour  and  there  ran  into 
the  clouds,"  says  Varges  in  describing 
the  ascent.  "The  cloud  layer  was 
about  3,000  feet  thick  and  it  took  an- 
other half  hour  to  rise  through  it.  On 
top  of  the  ceiling  the  sun  was  shining 
brightly  and  Mount  Fuji  was  thrust 
upward  through  the  mist  bank,  pre- 
senting a  remarkably  beautiful  scene. 

"Snow  covered  the  summit  and  the 
slopes  almost  down  to  the  clouds,  only 
a  small  black  band  of  earth  being  vis- 
ible. We  photographed  it  from  every 
angle,  flying  around  it  and  over  it.  We 
passed  over  the  summit  at  a  distance 
of  no  more  than  300  feet  above  the 
crater." 

Plane  Fights  Currents 

The  plane  attained  a  maximum  alti- 
tude of  15,000  feet,  which  is  nearly 
3,000  feet  higher  than  Fuji's  crest. 
Attempting  to  get  closer  to  one  side 
of  the  great  cone,  strong  upward  cur- 
rents combined  with  a  stronger  hori- 
zontal gale  shook  the  great  craft  like 
a  leaf  which  brought  into  play  some 
expert  piloting  on  the  part  of  P.  S. 
Torii,  pilot,  and  M.  Y.  Suzuki,  assist- 
ant pilot.  On  the  other  side  of  the 
summit  there  was  no  upthrust  of  the 
atmosphere  and  from  there  close-ups 
were  taken. 

As  the  plane  passed  over  the  sum- 
mit, the  shrine  was  plainly  visible. 
Everything,  of  course,  was  covered 
with  snow  and  the  crater  was  partly 
filled  in.  The  effect  of  bright  sunlight 
on  the  snowy  peak  gave  it  an  inde- 
scribable glow,  tinged  at  times  with  a 
suggestion  of  pink  and  other  colors. 
Cold  Hits  Camera 

Shots  were  taken  from  every  angle. 
Different  lens  and  different  films  were 
used  to  get  varying  effect.  Material 
for  sound  effect  was  limited  to  the 
clatter  and  hum  of  the  plane's  three 
powerful  motors.  As  the  plane  ap- 
proached the  mountain,  Heise  spoke 
into  the  microphone,  giving  a  brief  de- 
scription of  Fuji-san,  and  another 
short  bit  was  recorded  as  they  were 
passing  over  the  summit. 

The  camera  was  anchored  to  a  spe- 


cially made  stand  which  was  fastened 
to  the  floor  at  the  edge  of  the  cabin 
door.  Varges  sat  on  the  floor  to  oper- 
ate it.  Special  care  had  to  be  taken 
to  protect  the  camera  from  the  in- 
tense cold  at  the  high  altitude,  for  it 
was  more  exposed  than  was  the  sound 
equipment. 

Varges,  who  has  flown  throughout 
Europe  in  plane  and  dirigible,  men- 
tioned  particularly   the  efficient   man- 


Barlatiers   Celebrate 

Mr.  and  Mrs.  Andre  Barlatier  cele- 
brated the  twenty-fifth  anniversary  of 
their  wedding  December  19  at  their 
home  in  Hollywood.  Mr.  Barlatier  is 
one  of  the  veterans  of  the  camera, 
having  come  to  the  United  States 
eighteen  years  ago.  For  the  Imp  com- 
pany in  France  he  photographed 
"Absinthe,"  starring  King  Baggot, 
and  was  brought  back  to  this  country 
by  Director  Brenon.  The  Barlatiers 
are  old  Hollywood  residents. 


Six  Months  Old  Today 

The  <!E£0  MUTE 

"And  I  Aint  Heard  Nothin '  Yet" 

Six  months  of  trial,  tribulations  and  tests,  under  the  best 
and  worst  conditions,  sound  stages  and  locations,  fair  weather 
and  rain  .  .  . 

And  the  Baby  Sun  Arc  operated  1  00  per  cent  efficiency, 
1  00  per  cent  of  the  time,  and  never  made  a  SQUAWK. 

This  is  a  SILENT  arc,  as  its  name,  the  Mute,  implies — 
not  just  quiet,  but  SILENT.  Designed  and  built  on  scientific 
lines  throughout. 

Comparative  tests  have  proven  the  high  efficiency  of  its 
light  value.  Light  in  weight,  compact,  low  current  and  carbon 
costs,  are  features  to  be  considered. 

And  COOL  .  .  .  get  this  feature  of  the  Mute.  A  Cool 
lamp  house  with  a  Hot  light.  Scientific  ventilation  permits 
this. 

This  lamp  is  certainly  the  answer  to  the  sound  man's 
prayer. 

In  addition  to  our  general  rentals  of  incandescent  and 
arc  lamps,  generator  sets  and  wind  machines,  cable,  etc.,  we 
are  now  in  a  position  to  do  general  machine  work,  designing 
and  building  of  special  machinery,  tools,  jigs,  gear  cutting, 
screw,  machine  and  turret  lathe  work.  See  Frank  Merritt 
for  estimates. 

Creco,  Incorporated 

102  7   N.   Seward  Street 
Hollywood,    California 


Day    Phones: 
GL — 4  1  8  I 
GL—  4182 


U.  S.  A. 

Nite    Phones: 

Mac  Gibboney — GL.   5284 

Johnny   Neflf— N.    Holly.    509 

Frank    Merritt— OX.    65  5  7 


Twenty 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  1931 


Under  Tropical Skies-with  Physioc 


Artist  -  Philosopher      Discusses      Celestial      and 

Mundane  Matters  with  Special  Regard 

to  Old  Sol  and  His  Angles 

By  LEWIS  W.  PHYSIOC 

Technical  Editor  International  Photographer 


Lewis  W.  Physioc 


CHARLES  DARWIN,  in  writing 
of  the  island  of  Borneo,  spoke 
of  that  country  as  the  land  of 
topsy-turvy;  and  certainly,  in  reading 
his  studies  in  natural  history,  we  find 
some  remarkable 
examples  of  those 
"topsy-turvy"  dis- 
plays of  nature. 

It  is  to  the  trav- 
eler in  those  far 
eastern  and  tropi- 
cal countries  that 
these  natural  para- 
doxes are  more 
forcibly  presented 
than  is  possible  in 
written  descrip- 
tions. 

We  who  live  in 
the  more  northern 
latitudes  are  habituated  from  child- 
hood to  think  of  life  and  natural  con- 
ditions as  experienced  only  in  our  own 
clime.  Our  text  books  are  written  for 
this  limited  survey  of  the  universe. 
Our  astronomical  charts  show  only 
those  constellations  in  the  starry 
heavens  that  lie  within  our  native 
horizon.  It  is  not  surprising-,  then, 
that  the  student,  standing  on  the  deck 
of  a  ship  plowing  its  way  through  the 
southern  waters,  looks  in  vain  for 
some  of  his  old  favorites  of  the  skies, 
and  feels  far  away  and  lonely  among 
the  strange  new  clusters  he  cannot 
name.  No  wonder  he  enjoys  a  thrill 
when  he  sees,  for  the  first  time,  there 
beyond  the  bows  of  the  ship  a  new 
constellation,  and  hears,  for  the  first 
time,  its  name,  "The  Southern  Cross." 

Nor  are  the  purely  terrestrial  fea- 
tures less  anomalous  to  his  native  sur- 
roundings. In  this  strange  land  he 
traverses  vast  jungles  amid  a  variety 
of  trees  and  shrubs  which  he  is  unable 
to  classify;  he  gasps  at  the  idea  of 
standing  beneath  a  stately  tree  that 
nurtures  a  million  dollars  worth  of  the 
rare  and  beautiful  orchids;  he  enjoys 
a     childish     ecstasy     as     he    wanders 


among  the  towering  cocoanut  palms, 
so  closely  associated  with  his  boyhood 
readings. 

Dramatic   Extremes 

Here  walked  Marco  Polo!  How  well 
might  one  of  those  beautiful  isles  have 
harbored  the  Swiss  family  Robinson, 
or  Robinson  Crusoe? 

Likewise,  what  could  make  him  feel 
more  the  idea  of  being  in  a  different 
world  than  moving  among  strange 
and  varied  types  of  peoples — queer 
customs,  weird  religious  ideas;  dra- 
matic extremes  of  life  and  living  con- 
ditions. 

A  trip  to  Mars  or  one  of  the  other 
planets  could  hardly  furnish  more 
thrills  or  surprises. 

Let  us  now  return  to  the  astronom- 
ical argument  which  furnishes  the 
purpose  of  this  paper: 

In  reviewing  the  few  anomalies  just 
mentioned  it  is  reasonable  to  suppose 
that  a  photographer  might  experience 
some  conditions  that  would  influence 
the  application  of  the  rules  of  his  art. 
A  superficial  consideration  of  the  sub- 
ject might  deny  the  seriousness  of  any 
great  diversity  of  conditions  by  re- 
minding us  of  the  fact  that  the  same 
old  "Sol"  lights  all  parts  of  the  globe, 
and  that  there  are  only  two  variations 
of  this  source  of  light  to  be  consid- 
ered, i.  e.,  quantity  and  quality;  and 
that  the  photographer's  fundamental 
claim  to  proficiency  is  his  ability  to 
judge  the  extent  of  these   variations. 

Such  a  suggestion  would  seem  to 
discount  the  oftheard  admonition  to 
photographers  going  into  tropical 
countries  to  "watch  out  for  overex- 
posures under  that  fast  tropical 
light." 

This  supposition  is  true  and  places 
the  responsibility  solely  upon  the 
judgment. 

Development   of   Judgment 

Judgment:  this  is  an  awesome  word. 
It  is  accepted  with  such  suspicion  that 
the  scientist,  in   all  ages,  has  striven 


to  furnish  foolproof  expedients  to 
avoid  expensive  failures  through  er- 
rors of  judgment. 

But  there  are  activities  of  the  mind 
that  seem  independent  of  absolute  sci- 
entific control,  such  as  the  aesthetic 
arts,  among  which  we  consider  pho- 
tography, and  the  success  of  which  de- 
pends upon  the  development  of  the 
judgment;  and  the  reliability  of  this 
judgment  reflects  an  inherent  talent 
coupled  with  a  wide  experience  and 
close  observance  of  the  variation  of 
the  elements  connected  with  a  par- 
ticular art. 

It  is  with  this  thought  in  mind  that 
students  recount  their  experiences  and 
observations  with  the  hope  that  others 
may  pick  up  some  little  fact  that  may 
help  in  the  solution  of  a  problem. 

In  our  business  of  photographing 
motion  pictures  great  importance  is 
attached  to  the  choosing  of  locations, 
for  in  this  we  are  endeavoring  to  fur- 
nish various  features:  beautiful  com- 
position, an  adequate  setting  for  the 
story  requirements,  and  favorable 
conditions  for  photography. 

The  choice  of  this  location  is  in- 
spired by  our  lifelong  observations  of 
the  course  of  the  sun  on  our  native 
hemisphere. 

We  are  accustomed  to  consider  that 
a  particular  location  will  have  the 
proper  light,  for  certain  effect,  at  such 
and  such  a  time  of  day  at  a  given  sea- 
son of  the  year. 

An  account  of  a  humorous  incident 
may    illustrate    the    persistence    of    a 
lifelong    acceptance    of    these    natural 
guides  to  our  endeavors. 
Angle  of  Sun 

While  traversing  the  great  Pacific 
Ocean,  over  the  "northern  course,"  we 
travel  thousands  of  miles  without  ob- 
serving any  great  difference  in  the 
angle  of  the  sun  in  its  passage  across 
the  sky.  After  passing  the  Aleutian 
Islands,  however,  we  begin  on  a  de- 
cided change  of  direction  to  the  south 
with  its  consequent  influence  on  the 
sun  overhead. 

On  reaching  Yokohama  we  are  con- 
scious of  a  great  change,  and  finally 
when  turning  abruptly  south  and  ar- 
riving- at  Singapore,  in  the  short  peri- 
od of  a  few  days,  we  are  startled  to 
find  ourselves  under  a  blazing  sum- 
mer tropical  sun. 

Even  now  our  consideration  of  this 
experience  is   more   the   thought   of   a 


January,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-one 


rapid  seasonal  transition,  and  little 
thought  is  given  to  the  geographical 
or  astronomical  idea. 

It  was  here  that  we  had  our  first 
awakening.  It  was  here  that  we  had 
the  unaccountable  feeling  that  the  sun 
rose  in  the  northeast  and  set  in  the 
northwest.  It  was  here  that  we  went 
location  hunting,  equipped  with  com- 
pass and  our  inborn  influences  of  life 
on  the  northern  hemisphere. 

We  looked  at  our  compass  and  ob- 
served that  the  sun  was  setting  in  the 
west,  despite  our  feeling  that  it  was 
northwest,  and  concluded  that  our  lo- 
cation was  satisfactory  and  that  we 
would  have  favorable  light  all  day. 

The  next  morning  we  were  there 
bright  and  early,  with  full  equipment. 
The  sun  arose  in  the  east  quite  prop- 
erly, but  to  our  surprise  as  the  day 
advanced  not  once  did  it  reach  a  point 
where  it  shone  upon  our  cherished  lo- 
cation, for,  instead  of  circling  across 
the  southern  sky  and  casting  its 
shadow  to  the  north,  it  passed  over  the 
north,  casting  its  shadow  to  the  south, 
and  we  had  to  be  content  with  re- 
flected light. 

Sun    and    Photographers 

Now  our  text  books  have  given  us 
satisfactory  explanations  for  our  sea- 
sons as  due  to  the  direct  rays  of  the 
sun  at  various  positions  of  the  earth 
in  its  diurnal  revolutions  around  the 
sun,  and  the  inclination  of  its  axis  of 
rotation,  and  which  likewise  explains 
the  prevailing  equatorial  tempera- 
tures, but  no  stress  is  laid,  for  the 
benefit  of  photographers,  upon  the 
sun's  rays  at  different  parts  of  the 
earth. 

Let  us  refer  to  a  simple  diagram 
for  the  explanation.     In  the  month  of 


V^Sii  ««*>*. 


Group  of  the  Sakai  tribe,  remnants  of  cannibalistic  people  of  the  Malay  penin- 
sula.    Then  use  the  blowpipe  like  the  Dyaks  of  Borneo 


June,  the  time  of  year  under  con- 
sideration, the  earth's  axis  is  inclined 
toward  the  sun  as  shown  in  Fig.  1, 
which  throws  the  equator  well  below 
the  direct  line  of  the  sun's  rays.  This 
angle  is  at  its  maximum  on  June  21. 

Now  if  we  follow  the  earth  around 
its  orbit  to  the  21st,  or  more  accurate- 
ly 23d  of  September  and  also   March 


Here  are  shoimi  great  cumulus  clouds  that  early  in  the  dun  acute  photo  graphic 

disturbance,  especially  if  company  be  working  in  jungles.    Scene  in  foreground 

is  of  natives  of  Bulak,  Sumatra,  beating  on  drum. 


21,  we  find  the  axis  inclined  in  a 
plane  at  right  angles  to  the  sun, 
which  brings  the  equator  into  the  di- 
rect rays,  and  it  is  at  this  time  in 
equatorial  regions  that  we  observe  the 
sun  pass  almost  directly  overhead, 
casting  its  shadow  only  from  east  to 
west,  before  noon,  and  west  to  east  in 
the  afternoon,  with  a  slight  inclina- 
tion to  the  north,  or  south,  from  June 
to  September,  or  September  to  Decem- 
ber, and  at  places  any  distance  either 
north  or  south  of  the  equator. 

A  study  of  these  diagrams  will  show 
the  direction  of  the  sun's  rays  at  any 
part  of  the  globe,  at  any  time  of  the 
year.  Or  a  more  interesting  experi- 
ment might  be  in  placing  upon  the  li- 
brary table  a  lamp  of  single  source  of 
light,  and  moving  the  terrestrial  globe 
around  it,  with  the  ecliptic  line  on  a 
level  with  the  light,  and  by  sticking  a 
pin  in  any  point  on  the  surface  of  the 
globe  the  direction  of  the  shadow  will 
be  easily  determined. 

Light    Quantity    and    Quality 

Now  that  we  have  established  the 
direction  of  our  light,  there  are  other 
considerations  of  far  more  importance 
to  the  photographer — i.e.,  quantity 
and  quality. 

When  we  look  out  from  beneath  the 
brim  of  our  topi  the  tropical  light 
fairly  dazzles  the  eyes,  and  we  are 
reminded  of  that  old  familiar  warn- 
ing "Look  out  for  overexposures." 

Nevertheless,  when  we  squint 
through  our  monotone  glass  at  a  sub- 
ject lighted  by  this  brilliant  sun  we 
are  impressed  with  the  fact  that  the 
shadows  are  very  dense,  heavy  and 
lacking  illumination,  and  we  are  re- 
minded of  another  rule  among  pho- 
tographers which  recommends  that  we 
"Expose  for  the  shadows  and  let  the 
lights  take  care  of  themselves." 

This  fact  is  closely  associated  with 


Twcn'y-two 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  1931 


Gar  son  Expedition,  Universal,  moving  up  a  jungle 


the  simple  law  of  illumination  which 
shows  that  the  greater  the  source  of 
light  and  the  more  direct  its  rays  the 
more  denned  and  heavy  will  be  its 
shadow. 

Now  these  considerations  also  re- 
mind us  of  another  opinion  held  by 
photographers  that  good  photography 
is  more  or  less  a  judicious  balance  in 
exposure,  between  two  great  evils, 
i.  e.,  extreme  highlight  and  the  dense 
shadows,  and  in  working  in  tropical 
countries  we  are  confronted  with  the 
problem  of  determining  which  of  these 
areas,  shadow  or  light,  make  up  the 
most  of  our  picture,  and  which  of 
these  features  we  shall  humor  or  dis- 
regard. 

Now  if  we  study  most  pictures  we 
find  that  flat  ground  surfaces  are  most 
highly  lighted;  the  least  interesting 
feature,  and  covering  less  area,  and 
we  can  freely  sacrifice  this  to  the  more 
interesting  picture  elements. 

All  this  should  suggest  that  over- 
exposing pictures  in  tropical  countries 
is  less  to  be  feared  than  underexpo- 
sure, which  can  result  in  nothing  but 
harsh,  contrasty  pictures. 

Middle   Tones 

So  far  we  have  only  considered  ex- 
treme light  and  cast  shadows.  Let  us 
now  devote  our  attention  to  the  middle 
tones,  which  give  variety  of  color  and 
tone  to  a  picture,  furnish  the  modeling 
or  chiaroscuro  of  the  picture. 

Let  us  distinguish  between  heavy 
cast  shadows  and  shaded  portions. 

This  introduces  a  condition  of  light- 
ing in  these  countries  which  is  very  in- 
teresting, especially  when  the  sun  is 
high  overhead.  We  are  familiar  with 
the  rule  in  physics  which  provides 
that  the  angle  of  reflection  is  equal 
to  the  angle  of  incident. 

Now,  when  the  sun  is  high  in  the 
heavens,  it  is  easy  to  perceive  that  the 
light  is  reflected  back  at  a  very  acute 
angle,  and  consequently  less  scattered 
away  from  the  subiect;  and  even  when 
the  sun  apparently  is  at  the  zenith  it 
inclines  enough  to  the  north  or  south 
(according  to  the  season)  to  throw 
the  object  into  soft  shade,  and  with  the 


aid  of  reflectors  on  the  side  to  build  up 
light  to  nearly  balance  the  strong  top 
and  back  lights,  and  to  avoid  flatness, 
beautiful  exposures,  full  of  detail  and 
softness,  may  be  obtained. 

Even  in  the  shade  of  buildings  and 
trees  there  is  plenty  of  light  for  quick 
cinematograph  exposures  at  the  pres- 
ent rate  of  speed. 

Varying    Atmospheric    Conditions 

The  trickiest  light  with  which  the 
tropical  photographer  has  to  contend 
is  the  slightly  overcast  sky.  Here,  in- 
deed, may  our  fears  of  overexposure 
be  justified.  And  our  own  eyes  can  be 
considered  fairly  good  actinometers. 

When  we  have  to  squint  painfully 
under  such  light,  beware!  It  is 
very  powerful,  highly  actinic,  and 
greatly  diffused;  and  heavy  K  filters 
may  be  used  not  only  to  control  ex- 
posures but  to  increase  contrast,  for 
such  light  is  very  flat  and  uninterest- 
ing. 

We  have  obtained  ample  exposures 
with  K2  filter,  stop  F.8,  shutter  at  130 


degrees,  and  at  the  present  speed  of  90. 
We  have  considered  the  brilliancy 
of  the  tropical  sun.  Let  us  now  study 
a  condition  that  few  of  us  ever  think 
of  as  l-egards  those  countries  and 
which  suggests  a  kindly  compensation 
of  nature  for  the  benefit  of  the  people 
who  live  in  those  torrid  climes. 

Our  experience  over  a  period  of  time 
from  the  first  of  June  to  the  first  of 
November  disclosed  the  fact  that  Old 
Sol  really  shines  but  a  small  part  of 
the  day.  At  early  morning  the  sky  is 
clear  and  beautiful,  but  about  11 
o'clock  great  cumulus  clouds  begin  to 
gather  in  the  heavens. 

These  clouds  are  very  dense  and 
heavy  and  are  very  annoying  to  the 
photographer,  especially  when  work- 
ing in  thick  jungle  locations,  where 
all  possible  light  is  needed,  and  where 
he  is  nursing  a  sunspot,  provided  by 
cutting  away  heavy  overhead  growth 
and  which  he  hopes  to  direct  by  aid  of 
a  battery  of  reflectors. 

Especially  on  the  Malayan  Penin- 
sula, one  could  almost  set  the  clock  by 
the  4  o'clock  thunder  showers. 

There  is  one  feature  of  this  part  of 
the  earth,  however,  that  would  delight 
the  heart  of  any  photographer.  Never 
has  the  writer,  in  any  of  his  travels, 
seen  such  magnificent  sky  displays, 
interesting  cloud  formations,  light 
effects,  delicate  atmospheric  condi- 
tions for  the  painter  as  well  as 
photographer.  Our  good  old  friend 
Panchromatic  is  in  his  glory  there. 

Still    Photography 

It  may  be  of  interest  to  the  "still 
man"  to  tell  something  of  the  still 
photography  of  those  countries.  Most 
of  the  photographers  are  Japanese, 
some  Chinese,  but  very  few,  and  none 
so  clever  as  the  Japanese.  We  made 
the  acquaintance  of  Mr.  Nakajima  in 
Singapore,  and  after  seeing  some  of 
his  pictorial  work  conceived  a  sort  of 
reverence  for  those  Nipponese  artists, 
but  were  a  little  surprised  at  their 
methods. 

They  know  little  or  nothing  about 
cut  films,  panchromatic  stock,  or  tank 


Natives  transporting  across  Javan  stream  equipment  of  Universal  company. 
Expedition  moving  up  a  jungle  river. 


January,  19.il  The    INTERNATIONAL    PHOTOGRAPHE 


Twenty-three 


development.  Glass  plates  which  are 
used  exclusively  for  fdms  are  easily 
affected  by  the  extreme  humidity. 
They  buckle  and  bulge  out,  and  are 
generally  hard  to  handle.  Natives 
resort  to  very  rapid  development,  very 
stingy  fixing  and  washing,  and  prefer 
very  dense  negatives. 

Indeed,  when  we  see  some  of  their 
fine  prints,  we  wonder  how  so  much 
beauty  can  come  out  of  those  negatives 
that  are  so  dense  that  we  can  hardly 
see  the  light  through  them. 

The  secret,  probably,  lies  in  the  fact 
that  they  print  almost  entirely  from 
bromide  paper  cut  from  rolls.  The 
photographers  are  very  careful  and 
painstaking  with  their  prints,  and 
every  one  is  toned  in  the  hot  hypo 
alum  baths.  It  seems  that  there  is 
little  sale  for  black  and  white  prints, 
and  it  is  claimed  this  treatment  makes 
them  more  permanent  in  that  climate 
and  shows  less  the  stains  that  easily 
occur  in  the  tropics. 

In  conclusion  we  may  very  readily 
sum  up  the  facts,  that  in  any  part  of 
the  world  the  exposure  is  the  funda- 
mental consideration,  and  in  deter- 
mining this  there  are  two  elements  to 
engage  the  photographer  and  which 
he  is  expected  to  judge: 

Quantity  and 

Quality  of  Light. 


Western  Electrie  for  Indies 

Electrical  Research  Products  has 
issued  a  Western  Electric  theatrical 
recording  license  to  Balsley  and  Phil- 
lips Inc.,  Ltd.,  of  Hollywood. 

This  licensee  will  make  Western 
Electric  recording  equipment  and 
facilities  available  to  small  independ- 
ent producers  who  recognize  the  need 
for  the  prestige  and  destributing  ad- 
vantages of  Western  Electric  record- 
ing. 

James  R.  Balsley  formerly  was 
connected  with  Westinghouse,  Fox 
Case  Corporation  and  Walt  Disney 
Cartoons.  J.  H.  Phillips  was  for  a 
number  of  years  with  Fox  Movietone 
News  in  the  United  States  and 
abroad. 


Typical  group  of  Sahai  the  governm 

civilize — Doroth 


French  Cinema  Bank  Plans 

to  Offer  Finance  Facilities 

A  FRENCH  Cinema  Bank  or- 
ganized a  credit  institution  for 
the  motion  picture  industry,  the 
Union  Cinematographique  Francaise, 
which  has  hitherto  been  functioning 
on  a  modest  scale,  is  now  reported  to 
have  changed  its  name  to  "Banque  de 
La  Cinematographie  Francaise." 

This  institution  is  directed  by  M. 
Chalus.  It  is  stated  to  stand  in  close 
contact  with  the  Banque  Lehideux, 
a  well  known  private  bank,  but  such 
important  establishments  as  the 
Credit  Lyonnais,  Societe  Generale  and 
Comptoir  National  d'  Escompte,  that 
is  to  say  the  first  French  banks,  are 
also  credited  with  an  interest  in  the 
new  organization. 

It  is  believed  the  cinema  bank  will 
act  as  central  body  for  studies  of  film 
conditions  and  for  arranging  finance 
facilities  for  the  film  industry  as  is 
done   for   other   important   industries. 


ent  finds  it  practically  impossible  to 
y  Janis  in  boat 

This  is  considered  to  be  an  indication 
of  the  awakening  interest  of  French 
financiers  in  the  French  motion  pic- 
ture industry,  the  most  conservative 
banking  institutions  apparently  being 
involved  in  the  scheme. 

The  activity  of  the  bank  is  to  ex- 
tend to  every  branch  of  the  film  busi- 
ness. 


Russian  Film  Development 

Reported  as  Vnsatisfactory 

THE  following  information  was 
furnished  in  a  recent  report  of 
Trade  Commissioner  George  R. 
Canty,  Paris:  At  the  first  sound  film 
conference  of  the  Soviet  Union  it 
appeared  that  film  developments  in 
Soviet  Russia  are  not  as  satisfactory 
as  it  was  expected. 

Ssutyrin,  a  member  of  the  board  of 
Sojuskino,  stated  that  cinema  build- 
ing was  progressing  very  slowly  in 
spite  of  the  fact  that  the  importance 
of  the  film  as  a  factor  of  artistic  and 
governmental  propaganda  was  offi- 
cially recognized. 

Still  more  so  is  the  sound  film.  But. 
while  in  the  United  States  the  sound 
film  has  already  entirely  taken  the 
place  of  the  silent  film,  in  Russia  the 
changeover  will  be  slow  and  difficult 
owing  to  technical  production  difficul- 
ties and  to  the  la:k  of  professionals. 

The  conference  approved  of  the  de- 
cision of  Sojuskino  to  produce  50 
complete  sound  programs  during  the 
current  season.  The  Sojuskino  hopes 
to  wire  1,000  theatres  for  the  repro- 
duction of  sound  films  during  the 
same  period.  However,  since  the 
Electrical  Trust  of  the  Soviet  Union 
is  only  able  to  install  apparatus  in 
600  theatres  yearly  it  was  decided 
to  make  every  conceivable  concession 
in  order  to  carry  out  Sojuskino's 
sound  films  plans. 


Universal  company  holding  a  feast  (or  awaiting  its  serving)    in   the 

Javan  jungles. 


If  any  International  Photographer 
have  in  his  files  an  exceptional  picture 
shot  under  a  foreign  flag;  the  editor 
of  this  magazine  is  interested  in  it. 
The  phone  is  HEmpstead  1128. 


Twenty-jour 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  1931 


Meeting 

WE  CANNOT  understand  how 
one  man  laboring  under  the 
heavy  strain  of  an  Eyemo  can 
still  have  the  strength  to  conduct 
meetings.  Our  president,  Charles 
David,  seems  to  show  no  wear  or 
tear,  as  the  December  meeting  of  Lo- 
cal 666  was  conducted  in  the  usual 
way. 

"Red"  Felbinger  and  Urban  San- 
tone  seemed  to  have  the  floor  most  of 
the  night.  Can't  really  blame  them 
much,  as  they  had  spent  over  $100 
for  additional  furniture  needed  at  the 
headquarters  of  Local  666,  and  it 
seems  the  general  assembly  voted 
"No"  as  to  the  paying  of  this  bill. 
After  this  was  settled  Brother  Fel- 
binger was  elected  chairman  for  the 
coming  banquet  of  Local  666,  which  is 
to  be  held  at  the  Sherman  House  Jan- 
uarv  29. 


Bv  HARRY  BIRCH 


SIX-SIXTY-SIX 


S  &  A 


Essanay  has  long  been  known  to 
film  fans,  but  the  new  S  &  A  means 
Spoor  &  Ahbe,  and  here  is  part  of 
this  organization.  A  heading  for  this 
picture  might  be  "Uncle  Sam's  Army 
at  Work."  A  couple  of  good-looking 
chaps,  aren't  they?  They  are  none 
other  than  Major  Spoor  and  Private 
Ahbe — better  known  today  as  "Ma- 
jor Spoor"  and  "Bill  Ahbe."  Spoor 
looks  all  right,  but  we  wonder  what 
happened  to   Bill's  mustache. 


>  I  \     s  I  X  M 


Believe  It  or  Not 

Up  to  date  Brother  William  Straf- 
ford has  always  claimed  to  be  the 
onlv  man  in  the  world  that  could  make 


Stated,  Eugene  Cour,  Alvin  Wyckoff,  president  659;  Charles  David,  president, 
666;  standing,  Urban  Santone,  Ralph  Saunders,  Harry  Birch,  "Red"  Felbinger, 
Major  Spoor,  all  of  666,  and  Jimmie  Williamson,  659.  Note  how  Chicago  meets 
Hollywood  on  the  level  when  Cour  unlaces  his  high  shoe  to  match  Wyckoff's  low 
one.     The  name  of  the  maker  of  this  excellent  photograph  will  be  reported  in 

the  February  issue 


1000  pictures  a  second.  It  seems  that 
some  one  is  always  taking  the  joy  out 
of  life,  as  several  days  ago  Brother 
Strafford  broke  down  and  confessed 
that  he  had  just  reviewed  a  picture 
that  had  been  made  in  Japan  at  the 
rate  of  30,000  pictures  a  second. 

It  seemed  impossible,  and  we  asked 
Brother  Strafford  if  he  did  not  mean 
3000  a  second,  but  he  still  Maintains 
that  30,000  was  correct.  However,  it 
is  too  much  for  us,  and  we  pass  it  on 
to  you  for  something  to  think  about. 


SIX-SIXTY-SIX 


Telling  the  World 

Harry  Birch  has  made  further  use 
of  the  delegate's  badge  presented  to 
him  at  the  last  I.  A.  T.  S.  E.  conven- 
tion held  in  Los  Angeles.  Mounted 
on  the  front  of  his  De  Brie  it  will  be 
impossible  for  any  one  being  "shot" 
not  to  know  they  are  being  photo- 
graphed by  an  I.  A.  T.  S.  E.  man. 


SIX-SIXTY-SIX 


Visitors 

The  past  month  saw  Brothers  Lem- 
beck  and  Conrad  of  Cincinnati  in  Chi- 
cago. Lembeck,  as  you  know,  is  the 
"Sheriff  in  the  Sticks,"  and  although 
not  being  active  lately  has  promised 
he  will  let  us  in  on  some  of  the  gossip 
that  we  can  get  in  no  other  way. 


SIXTY-SIX 


Wyckoff  in  Chicago 

President  Alvin  Wyckoff  of  Local 
659  rolled  into  Chicago  with  his  as- 
sistant, Jimmie  Williamson,  on  "Mr. 
Santa  Fe's  Chief."  The  members  of 
666  had  their  shoes  shined  and  piants 
pressed  and  were  down  at  the  Dear- 
born Station  as  the  official  reception 
committee. 

Wyckoff  and  Williamson  were 
greeted  by  President  Charles  M.  Da- 
vid of  Local  666  and  his  body  guard, 
composed  of  Gene  Cour,  Charles  Ford, 
Major  Spoor,  Harry  Birch,  "Red" 
Felbinger,  Urban  Santone  and  Ralph 
Saunders.  The  march  from  the  sta- 
tion was  to  the  Sherman  House,  where 
a  little  impromptu  get-together  was 
held.  Wyckoff  posed  for  Chicago 
newspaper  men.  Time  was  up,  as 
Brother  Wyckoff  had  to  take  "Mr. 
New  York  Central's  Century"  on  to 
New  York.  The  march  then  proceed- 
ed to  the  La  Salle  Street  Station,  and 
the  last  word  was  "Adios." 


SIX-SIX  IV- 


W ell  Represented 

Our  Northern  out-of-town  brothers 
seem   to   be  busy   these   days.     While 


January,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-five 


Uncle  Sam's  Army   at   Work — Major 

Marvin  Spoor  and  Bill  Ahbe, 

"as  they  were" 

Ray-Bell  of  Minneapolis  were  shoot- 
ing a  production  on  the  Northern  Pa- 
cific Line  three  locals  were  represent- 
ed, viz.,  Charlie  Downs  of  Local  644, 
Kenneth  Styles  of  52,  and  Herb  Os- 
lund  and  C.  E.  Bell,  both  from  666. 
With  this  layout  how  can  Ray-Bell 
help  but  make  good  pictures? 

SIX-SIXTY-SI  X 

Apologizing  First 

With  apologies  to  my  "Slassiety  Re- 
porter." I  goes  to  McVickers  Theay- 
tree  and  I  sees  a  good  show.  It  is 
"Min  and  Bill."  Then  comes  on  that 
silver  sheet  a  title,  "Chicago-Notre 
Dame  Beats  Army."  I  sees  a  crowd, 
then  something  that  looks  like  a  foot- 
ball game,  then  one  of  those  close-ups 
in  the  spectators'  stand.  Young  lady 
says  "Why  did  he  drop  the  ball, 
delar?"  and  on  her  right  is  a  pile  coat 
with  a  body  wrapped  inside  that  an- 
swered, "And  I  saved  my  week's  sal- 
ary to  buy  your  ticket!"  By  this  time 
I  realizes  the  body  which  the  pile 
coat  contained  is  none  other  than  my 
"Sassiety  Reporter."  It  sure  is  tough 
when  you  see  these  boids  every  day 
and  then  you  spend  your  hard-earned 
jack  at  a  theaytree  to  be  entertained, 
and  you  find  that  you  have  still  to 
look  at  these  boids  on  the  screen. 

Whatahell! 

SIX-SIXTY-SIX 

In  Focus — In  Spots 

By  Birch's   Sassiety   Reporter 

NOW  that  them  hombres  out  thar 
in  California  found  out  why 
Notre  Dame  wuz  winning  all 
them  football  games  back  here  in  our 
stamping  grounds  I  guess  I  might  as 
well  settle  down  and  get  out  this 
month's  dirt,  which  youse  guys  won't 
read  until  next  year. 

First  of  all  I'll  start  the  new  year 
out  right  by  giving  you  a  hot  exclu- 
sive story.  We're  going  to  have  an- 
other one  of  our  famous  balls.  Re- 
member the  last  one  at  the  Palmer 
House?  Well,  the  next  one  is  going  to 
be  thrown  over  at  Mrs.  Sherman's 
Boarding  House  in  the  best  room  we 
can  get  over  there. 

All  I  got  to  say  is  set  January  29 
aside,  and  ankle  the  ball  and  chain, 
the  sweetie,  or  the  battleaxe,  as  the 
case  may  be,  over  to  the  Bal  Tabarin 
and  help  make  merry  for  the  second 
annual  time. 

SIX-SIXTY-SIX 

Red  Doff's  Lid 

I  wuz  along  with  President  David 
when  he  picked  the  Bal  Tabarin  and 


what  a  joint  it  is!  "It's  the  swellest 
place  your  humble  scribe  ever  went 
into."  You  know  how  I  always  keep 
my  hat  glued  to  my  head.  Well,  when 
I  walked  into  this  room  I  uncon- 
sciously took  it  off  because  I  never 
been  in  such  a  swell  place  before,  and 
I  can't  wait  until  the  29th  to  strut 
into  the  joint  Jail  decked  out  in  an- 
other dress  suit,  like  the  one  I  made 
my  glad  rags  debut  in  last  year. 

Well,  the  first  thing  I  want  to  tip 
you  brothers  off  to  is  you  better  call 
up  the  bozo  what  rents  out  these  dress 
suits,  right  quick,  because,  when  the 
information  busts  that  the  ball  comes 
off  on  the  29th  there  is  going  to  be 
one  big  rush  for  the  soup  and  fish 
costumes  and  you  might  not  get  the 
right  size. 

I  already  got  my  order  in  because 
last  time  it  wuz  two  sizes  too  big  and 
then  also  I  Wanted  one  that  didn't 
have  eggs  on  the  lapel  of  the  coat. 

SIX-SIXTY-SIX 

Socking  Old  Man  Gloom 

Now,  getting  back  to  the  Bal 
Tabarin  it  is  the  place  to  treat  your 
fair  sex  friend  or  wife  to.  The  place 
is  an  evening's  entertainment  in  itself. 
Also  the  brothers  won't  even  need 
any  giggle  water  to  make  themselves 
feel  hilarious  because  there  is  an 
ever  changing  parade  of  lighting  ef- 
fects on  the  walls  of  the  Bal  Tabarin, 
which  ought  to  make  any  fellow  feel 
like  he  was  hittin'  things  up  and  see- 
ing things. 

I  understand  this  affair  is  going  to 
surpass  last  year's  by  miles  and  that 
is  admitting  a  lot,  but  I  guess  if 
Charlie  David  promises  that — it's  oke. 
So  in  case  I  don't  see  youse  before 
that  night  I'll  be  there  with  bells  on 


LA.  T.  S.  E.  delegate  badge  adorning 
front  of  Harry  Birch's  camera 

because  it's  going  to  be  one  grand 
night.  Remember — the  Bal  Tabarin, 
January  29. 

Line  up  your  friends  and  show 
them  how  to  start  out  the  new  year 
right  and  bring  them  up  to  help  us 
participate  in  burying  Old  Man 
Gloom. 

SIX-SIXTY-SIX 

Ten   Below  in   Open   Crate 

I  see  where  Charlie  Ford  has  gone 
out  on  a  extreme  economy  wave.  Any- 
how, he  must  be  cutting  down  the 
overhead  considerably  on  the  lunch 
checks     because     I     saw     him     arrive 


Shooting  a  Ray-Bell  Production — Platform  at  left,  Charlie  Downs,  Local  6AA; 

on  ground,  left,  Kenneth  Styles,  52;  holding  up  camera, 

Herb  Oslund  and  C.  E,  Bell,  666 


Twenty-six 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  19-11 


down  at  the  Ohio  Mine  disaster  and 
the  first  thing  he  did  was  bust  over 
to  the  hut  the  Red  Cross  had  put  up 
for  the  rescue  crews  and  get  himself 
a  free  lunch  of  coffee  and  doughnuts. 
No  kiddin',  though,  Charlie  sure 
looks  like  he  needed  it.  He  flew  down 
from  Chicago  in  an  open  crate  and 
the  climate  was  10  below  up  at  8,000 
feet,  and  Charlie  looked  frozen  even 
with  all  the  winter  flying  regalia  he 
had  on. 


SIX-SIXTY-SIX 


Sheriff  Gumshoes 

Brother  Ralph  Lembeck  has  been 
snooping  around  town  on  a  mysteri- 
ous errand,  and  after  shadowing  the 
sheriff  from  the  sticks  I  discover  he 
is  here  trying  to  line  up  some  choice 
ringside  seats  for  the  coming  pow- 
wow at  the  Bal  Tabarin  on  January 
29.  Slick  guy,  this  fellow  Lembeck. 
Guess  he  knows  what  a  big  demand 
them  ducats  is  going  to  have. 


SIXTY-SIX 


Wall  Waits  for  Fred 

The  boys  still  get  their  picture. 
Fred  Giese  is  I  he  latest  example  of 
how  to  get  what  you  go  after.  Re- 
cently a  big  fire  bust  and  Fred  drew 
the  assignment  only  to  find  on  his 
arrival  at  the  scene  of  the  conflagra- 
tion  that    the    firemen   were   about   to 


pull  down  a  big  four  story  wall.  Fred 
got  busier  than  the  proverbial  one 
armed  paper  hanger  on  setting  up  his 
outfit,  yelling  to  the  firemen  to  "Hold 
that  wall  up  a  few  minutes  longer!" 
Sounds  like  a  big  order.  Well,  any- 
how, we  saw  a  picture  in  Fred's 
newsreel  of  a  four-foot  wall  coming- 
down. 


SIX-SIX  I Y-S1X 


But  What  Says  Mother? 

Brother  Urban  Santone  has  bust  all 
the  buttons  off  his  vest  with  the  ar- 
rival of  number  two  candidate  for 
Rockne's  football  team  about  twenty 
years  from  now.  He  calls  this  one 
Victor. 

Due  to  the  present  business  depres- 
sion Brother  Santone  cut  out  his  Ital- 
ian custom  of  handing  out  the  coronas 
to  celebrate  the  event.  Both  father 
and  child  are  doing  nicely  at  this 
writing. 

SIX-SIXTY-SIX 

How  Does   an   Editor   Know? 

Well,  I  submit  with  this  column  my 
choice  for  "The  Still  of  the  Month." 
This  one  is  entitled  "The  Daredevil," 
and  is  posed  by  our  versatile  brother 
Bob  Duggan,  the  lightning  impre- 
sario. 

Note  the  perfect  equilibrium  of 
nerveless  steeplejack  as  he  flirts  with 


Not    Fair 

Chicago,  Dec.  15.  —  Something- 
should  be  done  as  to  the  professional 
motion  picture  photographer  breaking 
into  the  16  mm.  field.  Here  is  proof 
that  one  of  Local  666's  star  men,  who 
happens  to  be  Secretary  Norman  Al- 
ley, is  working  with  a  16  mm.  camera. 

We  wonder  from  the  expression  if 
Alley  really  closed  his  eyes,  being 
ashamed  even  to  look  at  this  little 
16   mm.    camera,   or   was    it   like   the 


Norman  Alley  shooting  16  mm. 
camera 

story  of  the  ostrich?  It  seems  that 
Brother  Alley  is  practicing  up  on 
these  backbreaking  jobs  since  he  has 
watched  President  Charles  David's 
heavv  duties.  H.  B. 


C 


V  l-4k 


\ 


'■      .  ■■ 


Picture  of  that  daredevil  Mr.  Robert  Duggan,  lightning  impresario  of  some- 
thin',  rehearsing  his  slack  wire  act  on  the  coping  of  a  one-story  building,  the 
while  an  unidentified  photographer  aims  to  take  a  picture  of  his  waistband  and 
a  second  u.  p.  shoots  the  works  so  this  summer  Saturday  afternoon  idyl  in 
Chicago  may  not  be  lost  to  posterity 


death  tottering  on  the  brink  of  eter- 
nity one  story  above  the  ground.  This 
is  a  rare  print  from  the  private  col- 
lection of  the  said  Mr.  Duggan,  and 
was  smuggled  away  from  the  ever 
watchful  eye  of  our  modest  hero. 

It  is  the  first  public  showing  of  the 
pose  and  casts  our  hero  in  a  new 
role,  as  it  is  the  first  time  we  have 
seen  him  perform  on  the  edge  of  a 
roof. 


Western  Electric  Installs  in 
2495  Foreign  Film  Houses 

Western  Electric  world  wide  in- 
stallations, according  to  the  latest  re- 
port, total  7222,  of  which  4727  are  in 
the  domestic  field  and  2495  abroad. 
Sixteen  cities  have  20  or  more  instal- 
lations. The  list  is  headed  by  New 
York  City  with  356.  Olher  cities  are 
as  follows:  Chicago,  166;  Los  An- 
geles, 86;  Philadelphia,  82;  Detroit, 
76;  Cleveland,  51;  St.  Louis.  46;  San 
Francisco,  41;  Baltimore,  40;  Kansas 
City,  32;  Cincinnati,  32;  Milwaukee, 
30;  Seattle,  29;  New  Orleans,  26; 
Buffalo,  26,  and   Pittsburgh.  22. 

There  are  23  cities  that  have  be- 
tween 11  and  20  installations,  totaling 
341  Western  Electric  wired  houses. 

In  75  cities  there  are  from  5  to  10 
installations,  while  48  cities  have  4 
each  and  include  192  theatres,  while 
there  are  113  cities  with  3  installa- 
tions.   These  total  339  theatres. 

This  total  of  2491  is  about  half  of 
all  the  Western  Electric  installations 
in    the    United    States. 


Revietv  Rooms  Install 

There  are  289  review  rooms  through- 
out the  world  equipped  with  Western 
Electric. 


January,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-seven 


Thirty-three  Year  Old  Arctic  Films 
Product  of  Eastman  Kodak  Works 


DUE  to  the  perfection  already  at- 
tained by  the  Eastman  Kodak 
Company  in  the  making-  of  sen- 
sitive emulsions  thirty-four  years  ago 
the  entire  world  is  able  to-day  to  see 
views  of  the  disastrous  Andree  polar 
balloon  expedition  in  1897.  The  Roch- 
ester Sunday  American  of  November 
23  last  describes  in  detail  the  inter- 
esting steps  of  development  in  film 
manufacture  leading  up  to  the  prod- 
uct supplied  when  the  order  for  the 
Andree  expedition  was  received. 

The  material  in  question,  iroduced 
about  eight  years  after  the  Eastman 
company  had  begun  to  market  trans- 
parent film,  was  manufactured  at  a 
time  when  experiments  to  yield  large 
quantities  of  film  of  uniform  quality 
were  at  their  height. 

The  year  1896  brought  this  com- 
pany the  record  of  100,000  kodaks 
made,  with  film  and  photographic  pa- 
per being  manufactured  at  the  rate 
of  between  three  and  four  hundred 
miles  monthly.  Film  base,  at  that 
time,  still  was  produced  by  pouring 
the  fluid  nitrocellulose  "dope"  on  to 
long  glass  tables  to  dry.  The  contin- 
uous drum  system  for  manufacturing 
the  emulsion  support  was  not  made 
practicable   until   several   years    later. 

The  arctic  temperatures  at  which 
the  film  remained  while  it  waited 
thirty-three  years  for  discovery  and 
development  are  understood  to  be 
largely  responsible  for  the  preserva- 
tion of  the  pictures,  since  it  is  known 
that  cold  retards  chemical  action  with- 
in film  provided  the  humidity  is  low. 
Films  in  Exploration 

Regarding  the  methods  used  to  de- 
velop the  film  found  in  the  Andree 
camp  no  information  has  been  re- 
ceived from  Sweden  by  the  Kodak 
Company.  It  is  believed,  however,  no 
unusual  procedure  would  be  necessary 
except  to  work  at  lowered  tempera- 
tures if  the  gelatin  tended  to  be  soft 
and  to  take  such  precautions  as  ex- 
perimenting with  the  developing  of  a 
single  negative  before  any  risks  were 
taken  with  the  whole  group  of  nega- 


tives. It  is  probable  Dr.  Hertzberg 
subjected  the  negatives  to  a  glycerine 
balh  since,  in  1897,  there  was  no  gel- 
atin coating  on  the  back  of  film — the 
side  opposite  from  emulsion — to  pre- 
vent curling. 

Photographic  film,  also  made  by 
Eastman,  gave  the  world  a  pos- 
thumous photographic  record  of  the 
expedition  headed  by  Scott,  the  Brit- 
ish officer  who  reached  the  South  Pole 
in  1913  only  to  perish  with  his  com- 
panions in  a  blizzard  that  obstructed 
his  return. 

A  kodak  brought  back  records  of 
Peary  expeditions  both  before  and 
after  the  Andree  flight. 

Admiral  Byrd  took  larg-e  quantities 
of  Eastman  still  films  to  Antarctica, 
and  photography  has  been  an  impor- 
tant instrument  in  the  equipment  of 
all  other  recent  exploratory  expedi- 
tions. Byrd's  provision  for  the  care 
of  his  film  included  transportation  of 
the  material  under  refrigerated  con- 
ditions to  combat  the  heat  encoun- 
tered in  crossing  the  equator.  Film 
produced  at  Kodak  Park  in  Roches- 
ter that  needs  to  cross  the  equator  to 
reach  its  users  ordinarily  is  packed  in 
sealed  metal  containers. 

The  experience  of  the  Andree  film 
is  cited  by  Eastman  officials  as  typi- 
cal of  the  vicissitudes  through  which 
film  may  have  to  pass  and  as  a  reason 
for  the  extreme  care  with  which  man- 
ufacturing operations  and  extensive 
testing  at  Kodak  Park  must  be  car- 
ried on. 


'Doc''''  Travis  First  to  Use 
Camera  from  Air  in  Regular 
Motion  Picture  Production 


LITTLE  thought  was  given  by 
Norton  ("Doc")  Travis  to  the 
historical  importance  of  his  ac- 
tion when  in  1908  at  Hammondsport, 
N.  Y.,  he  climbed  aboard  a  Curtiss 
machine  to  photograph  from  the  air 
the  pioneer  sequences  for  a  regular 
motion    picture    production.    The    sub- 


Greetings  to  Dorothy 

From  a  friend  in  Local  644  comes 
this  word: 

Harold  McCracken,  noted 
explorer  and  writer,  is  the 
happy  father  of  another  baby 
girl — Dorothy  by  name.  For- 
tunately the  baby  can't  be  a 
cameraman. 

Now  just  a  moment.  In  these 
days  of  rapid  change  isn't  that 
concluding  assertion,  looking  ahead 
a  quarter  of  a  century,  rather  a 
strong  one? 

Then  again  Dorothy  may  be  a 
cameraman's  boss — even  on  occa- 
sion notify  him  in  tones  formal  and 
businesslike  the  Sunday  dinner  will 
be  served  at  4:30  o'clock,  golf  or 
no  golf,  my  dear  sir! 


ject  was  "The  Line-Up  at  Police 
Headquarters"  and  the  producer  was 
Gus  Hill.  Featured  in  the  picture  was 
former  New  York  Police  Commission- 
er Dougherty. 

Below  at  the  left  will  be  seen  a 
reproduction  of  the  very  plane  and 
the  very  "Doc"  as  he  was  nearly 
twenty-three  years  ago.  On  the  right, 
standing-  back  to,  is  Frank  Beale,  the 
director,,  then  hailing  from  New  York, 
but  now  a  long  time  resident  of  Hol- 
lywood. To  his  left  is  De  Witt  C. 
Wheeler,  Hammondsport,  by  the  way, 
was  the  original   Curtiss  home  plant 

The  years  that  followed  have  been 
busy  ones  for  "Doc"  Travis.  He  made 
a  tour  of  the  world  doing  scientific 
photography  for  the  Rockefeller 
Foundation.. He  was  a  captain  in  the 
Signal  Corps,  and  did  special  camera 
work  for  the  government  during  the 
World   War. 

Also  the  pioneer  is  a  specialist  in 
trick  work,  having  perfected  many 
rotable  photographic  effects  in  motion 
picture   making. 


Chicago  Engineers  Elect 

The  Chicago  section  of  the  Society 
of  Motion  Picture  Engineers  has 
elected  J.  Elliott  Jenkins  chairman, 
R.  Fawn  Mitchell  secretary  and  Os- 
car B.  Depue  and  Robert  P.  Burns  as 
governors. 

Members  of  this  section  now  to- 
tal 77. 


Twenty-eight 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  1931 


Wherein  We  Set  Forth  Our  Regrets 
and  Make  Our  Amends  to  Lee  Garmes 


IN  PRINTING  in  its  December  is- 
sue the  portraits  of  those  camera- 
men who  were  affiliated  with  sub- 
jects related  to  Academy  awards  in 
one  department  of  effort  or  another 
International  Photographer  unwit- 
tingly   miscredited    the    photographer 


Lee  Garmes 


of  "Disraeli."  It  was  for  his  inter- 
pretation of  the  title  part  in  this  sub- 
ject that  George  Arliss  received  the 
award  as  the  best  actor  of  the  year. 
The  mistake  came  in  crediting  the 
photographer  of  the  excellent  "Dis- 
raeli" stills  instead  of  the  man  re- 
sponsible for  the  motion  picture  pho- 
tography. 

Lee  Garmes  is  the  cameraman  to 
whom  we  convey  our  apologies.  We 
take  this  action  in  spite  of  the  fact 
that  up  to  this  writing  no  word  of 
complaint  or  otherwise  has  been  re- 
ceived from  the  person  who  had  most 
reason  to  feel  aggrieved. 

Possibly  the  photographer  of  the 
more  recent  "Whoopee"  and  "Morocv 
co"  feels  he  has  been  the  recipient  of 
sufficient  honors  these  latter  days  to 
let  the  incident  pass  without  com- 
ment. 

By  the  way,  this  may  be  a  good 
time  to  reprint  the  unusual  compli- 
ment bestowed  by  the  Christian  Sci- 
ence Monitor  upon  the  photographer 
of  "Morocco."  The  comment  is  by 
E.  C.  S.  of  the  Monitor's  New  York 
bureau. 

The  recognition  of  the  important 
part  played  by  the  man  behind  the 
camera  is  so  unusual  and  so  delicate 
and    complimentary    in    its    phrasing 


we  are  sure  it  will  interest  camera- 
men everywhere.     It  runs: 

"Miss  Dietrich  is  handsome  of  face 
in  a  thoughtful  way.  Her  profile 
takes  on  beauty  of  modeling  in  light 
and  shade  under  the  thoughtful  min- 
istrations of  the  cameraman,  Lee 
Garmes." 


Staaken  to  Reopen 

The  Staaken  film  studios  in  Ger- 
many, after  a  long  period  of  inactiv- 
ity, have  been  inaugurated  for  sound- 
film  production.  A  Tobis-Klangfilm 
set,  with  three  microDhones  and  two 
cameras,  has  been  installed  between 
two  halls  so  that  shooting  can  be  ef- 
fected in  either  one  by  a  simple 
changeover  of  wires.  The  studios 
have  been  entirely  lined  with  sound- 
insulating  material. 

The  first  picture  produced  for 
Klangfilm,  under  the  direction  of 
Gerhard  Lamprecht,  will  be  "Two 
Kinds  of  Morals." 


Wyckoff  in  New  York 

Alvin  Wyckoff,  president  of  Local 
659,  is  in  New  York  for  a  brief  stay 
in  the  interest  of  Multicolor.  He  is 
accompanied  by  James  Williamson, 
his  assistant. 

While  away  Mr.  Wyckoff  will  pho- 
tograph the  first  complete  industrial 
picture  that  has  been  made  in  Multi- 
color. Also  while  in  New  York  he 
will  photograph  sequences  for  Univer- 
sal^ novelty  series,  "Strange  As  It 
May  Seem,"  all  of  which  subjects  are 
in  Multicolor. 


To  the  Photograhic  Craft  and  the 

Motion  Picture  industry 

in  General 

MAX   FACTOR 

wishes 
A  Prosperous 


Telephone   HOlly  6191 


Max    Factor's 

Panchromatic 

and 

Technicolor 

Make-up 

for   the 

Screen 


Max  Factor  Make-Up  Studios 

HIGHLAND   AVENUE   AT    HOLLYWOOD    BOULEVARD,    HOLLYWOOD.    CALIF. 
CHICAGO   OFFICE— 444   WEST  GRAND  AVE. 
Other    Foreign    Branches 
London,   England:    10   D'Arblay    St. 
Sydney,    Australia:     No.    4-C    Her   Majesty's   Arcade.  Buenos  Aires,  Argentina:     500  Sarmiento. 

Manila,    Philippine  Islands:     No.   39   Esolta  St.  Lima,  Peru:     Edificia   Mineria. 

Mexico   City,   Mexico:     Paseo   de  la   Reforma  36%.  Honolulu,  T.  H. :     720  South  St. 

Johannesburg.  South   Africa:    Corner  Joubert   and   Kerk   St. 


Cable  Address  "FACTO' 


Max    Factor's 

Theatrical 

Make-up 

for   the 

Stage 


fo*"2*k 


Gream  oth  Stills 


tOWo*. 


Edward  H.  Kemp  of  San  Francisco  climbs  into  the  wash  and  up  over  the  rocks  on  Wall  Creek  in  Bright 

Angel  Trail,  Grand  Canyon,  Arizona,   to  get  a   perfectly   unhoftile   shot  at   these   horsemen,   who  like    the 

world  and  his  wife  take  a  good  rest  while  the  photographer  works. 


Thirty 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  1931 


With  Portable  Reproducer  Operator 
May  Cut  In  on  Audible  Film  Show 


A  SPECIAL  microphone  arrange- 
ment which  will  enable  an  op- 
erator to  interject  remarks  rel- 
ative to  any  picture  which  is  bsing 
shown  and  to  have  his  voice  come 
from  the  loud  speaker  in  entirely  sat- 
isfactory volume  is  hailed  as  a  revolu- 
tionary feature  of  the  new  Bell  & 
Howell  portable  16  mm.  talker  repro- 
ducer, the  Filmophone. 

This  combination  is  especially  valu- 
able for  business,  educational,  church 
and  small  theatre  use.  Also  it  will  be 
warmly  welcomed  in  the  home,  in  the 
event  of  impromptu  entertainments, 
for  instance. 

The  Filmophone  itself  is  portable  in 
the  true  sense  of  that  word.  It  comes 
in  two  cases,  of  approximately  equal 
size,  shape  and  weight,  totaling  88 
pounds.  It  employs  a  Filmo  projector 
for  showing  pictures,  using  16  mm. 
amateur  size  film.  Sound  is  obtained 
by  a  synchronized  phonograph  type  of 
disc,  the  same  as  used  in  theatres. 

The  Filmophone,  it  is  stated  by  its 
makers,  presents  the  ultimate  in  tonal 
qualities  in  portable  sound  repro- 
ducers. It  yields  volume  sufficient  for 
audiences  of  several  thousand.  With 
it  perfect  synchronization  is  achieved. 
Operator  May  Plug  In 

It  has  a  worm  drive  of  unique 
design,  thus  eliminating  the  double 
motor  feature  and  avoiding  any  possi- 
bility of  slack  in  the  mechanical  coup- 
ling. The  Filmophone  is  a  product  of 
the  Bell  &  Howell  engineering  labora- 
tories and  carries  with  it  the  Bell  & 
Howell  manufacturing  guarantee. 


The  microphone  feature  permits  the 
operator  to  plug  in  conveniently  at 
any  time,  automatically  cut  out  the 
musical  or  verbal  record  accompani- 
ment and  make  any  comments  desired 
in  order  to  emphasize  points  of  a  film 
which  may  need  stressing  to  meet  a 
specific  situation.  When  the  switch  on 
the  microphone  is  released  the  record 
sound  accompaniment  is  resumed. 

A  notable  advantage  of  this  micro- 
phone arrangement  lies  in  the  fact  it 
will  obviously  make  it  possible  to  use 
many  silent  pictures  to  good  advan- 
tage. A  salesman,  for  instance,  can 
talk  into  the  microphone  while  show- 
ing a  silent  film  and  explain  his  com- 
pany's product  and  have  his  voice  ac- 
company (he  picture  in  a  volume 
equal  to  that  of  the  Filmophone  when 
it  is  presenting  a  sound  picture,  so 
that  a  large  audience  can  hear  him 
easily.  The  Filmophone  will  be  mar- 
keted with  the  microphone  attach- 
ment or  it  may  be  secured  without  the 
microphone  feature,  which  can  then 
be  added  later. 

One  of  the  two  cases  which  house 
the  Filmophone  contains  turntable 
with  flexible  shaft  connection  to  the 
Filmo  projector,  magnetic  pickup, 
amplifier  with  power  pack,  tubes,  nee- 
dles, needle  cup,  pocket  for  three  16- 
inch  records,  and  necessary  accesso- 
ries. The  second  oase  houses  the  loud 
speaker  permanently  mounted  in  the 
case  itself,  together  with  the  projec- 
tor, three  extra  reels  of  film,  empty 
reel,  connecting  cords,  cables  and  ac- 
cessories. 


Filmophone — Showing    turntable   unit 
coupled  to  Filmo  projector  in  operat- 
ing position 

Over  2000  Follow  on  Screen 
16  mm.  Football  Game  Film 

A  decisive  demonstration  of  tre- 
mendous reserve  power  was  given  by 
a  regular  factory  model  Filmo  projec- 
tor when  it  showed  brilliant  twelve- 
foot-wide  motion  pictures  of  the 
Northwestern  University  football 
team  in  action  against  competing 
teams  to  an  audience  of  over  2000  at 
the  second  annual  University  home- 
coming rally  held  in  the  122d  Field 
Artillery  Armory  at  Chicago  recently. 

The  projector,  back  in  the  hall,  al- 
though perched  up  on  two  tables,  one 
on  top  of  the  other,  was  all  but  lost 
in  the  immense  crowd.  Nevertheless, 
although  small  in  size,  it  did  a  big 
job. 

Charles  T.  Chapman,  veteran  pho- 
tographer, who  took  and  projected 
the  16  mm.  football  films,  writes  as 
follows  relative  to  the  rally:  "The 
football  pictures  were  taken  with  a 
70-D  Filmo  camera  and  were  shown 
with  my  Model  C  Filmo  projector, 
using  a  2  ¥2 -inch  extra-lite  lens. 

"I  feel  that  since  both  the  size  of 
the  picture  and  the  size  of  the  audi- 
ence were  so  much  greater  than  is  or- 
dinarily recommended  for  good  show- 
ing, there  should  be  some  record  of  it. 
I  may  add  that  the  clarity  and  bril- 
liance of  the  pictures  caused  consid- 
erable  comment   after   the    showing." 


Salesman   by  means  of  special  microphone  arrangement  cuts  in,  in  the  midst 
of  a   Bell  &  Howell  Filmophone   talkie  sales  presentation,   to   give   w  special- 
oral  explanation. 


Says  Studios  W  ill  Install 

16  MM.  Reduction  Printers 

INSIDE  of  another  year  there  will 
not  be  a  major  studio  on  the  West 
Coast  but  will  have  in  its  labora- 
tory equipment  a  16  mm.  reduction 
printer.  This  is  the  statement  of  a 
large  dealer  in  cine  equipment  in  Los 
Angeles. 

Explaining  his  prediction,  he  said 
there  is  not  a.  studio  in  the  west  but 
has  in  its  personnel  what  he  described 
as  a  whole  nest  of  16  mm.  fans.  This 
extends  from  the  highest  executives 
and  principal  nlayers  down  through 
the  various  employees.  The  dealer 
told  of  one  well  known  cameraman 
who  the  day  before  had  given  an  order 
for  16  mm.  equipment  for  which  he 
laid    down    a   check   for    $536. 

The  cine  dealer  referred  to  a  prom- 
inent producer-star  who  that  day  was 
accepting  delivery  of  a  complete  16 
mm.  equipment  for  his  home  in  Bev- 
erly Hills.  "The  interest  among  pro- 
fessionals in  16  mm.  equipment  is 
almost  unbelievable,"  the  dealer  de- 
clared. 


January,  19.11 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-one 


With  Films  Men  9s  Club  Finds  Way 
to  Boost  Treasury  at  Church  Fair 


TWO  instances  have  just  been  re- 
ported from  Chicago  as  to  how 
motion  picture  projectors  can  be 
used  to  raise  money  for  church  pur- 
poses. It  will  be  seen  that  instead  of 
being  an  expense  a  projector  easily 
becomes  a  source  of  income. 

At  the  Lutheran  Memorial  Church, 
2500  Wilson  Avenue,  on  the  occasion 
of  the  annual  fall  bazaar  the  men's 
club  elected  to  conduct  a  motion  pic- 
ture booth  as  its  part  of  the  activities. 
With  a  Filmo  projector  such  films  as 
"Felix  the  Cat"  animated  cartoons, 
two  UFA  educational  subjects,  "Hunt- 
ing and  Fishing  in  Siberia"  and 
"Taming  the  Taiga";  Boy  Scout  pic- 
tures and  miscellaneous  comedies 
were  presented.  Each  reel  took  about 
fifteen  minutes  to  show,  and  an  ad- 
mission charge  of  five  cents  a  reel 
was  levied.  So  intense  wias  the  inter- 
est in  the  pictures  that  there  was  al- 
ways a  line  at  the  entrance  of  the 
booth  waiting  for  the  beginning  of  the 
next  reel. 

All  ihe  Show  Nol  on  Screen 

The  accompanying  photograph  shows 
August  Schmidt,  head  councilman  of 
the  church,  operating  the  projector. 

Also  it  will  be  noted  the  audience 
was  miade  up  of  people  of  all  ages. 

About  $40  above  expenses  were 
cleared  from  the  booth  operation,  and 
the  pastor,  the  Rev.  Edwin  Moll,  ex- 
pressed himself  as  delighted  with  the 
idea  of  discovering  a  source  of  in- 
come which  was  so  rich  in  high-grade 
entertainment  qualities. 

The  other  instance  of  revenue  rais- 
ing in  Chicago  was  at  the  Granville 
Methodist  Church.  Here  Mr.  and  Mrs. 
John  Skinner,  Chicago  school  teach- 
ers, presented  16  mm.  motion  pictures 
which  they  had  made  during  a  trip  to 
Europe   last   summer. 

They  had  shown  these  pictures  to 
some  of  their  friends  who  had  felt 
that  the  films  should  be  viewed  by  a 
larger  audience.  It  was  arranged  the 
pictures  should  be  shown  in  the 
church  with  an  accompanying  travel 
talk  by  Mrs.  Skinner.  An  admission 
charge  was  made  with  the  under- 
standing that  the  proceeds  should  go 
to  the  church.  The  sum  of  $85  was 
realized. 


Fraternity  Chapters  to  See 
National  Congress  Pictures 

THE  outstanding  events  of  the 
tenth  Grand  Chapter  Congress 
of  the  international  commerce 
fraternity  Delta  Sigma  Pi,  held  at 
Detroit  September  10  to  14,  are  being 
presented  in  motion  pictures  to  chap- 
ters of  the  fraternity  throughout  the 
country. 

The  film  was  made  with  a  Filmo 
70-D  by  J.  Robert  Johnson,  Chicago, 
a  member  of  the  fraternity,  and  is  re- 
ported to  be  a  masterpiece  of  ama- 
teur cinematography.  Not  only  are 
the  official  happenings  of  the  conven- 


tion vividly  depicted,  but  a  delightful 
romance  is  introduced  which  adds 
splendidly  to  the  interest,  as  do  also 
close-ups  of  the  members  in  attend- 
ance at  the  Congress. 

The  premier  official  showing  of  the 
film  was  given  in  Chicago  recently, 
two  Filmo  projectors  being  used  al- 
ternately to  obviate  any  waits  be- 
tween reels. 


Malaysian  and  Situth  Sea 

Pirtares  to  Be  Ready  Soon 

PHILIP  M.  CHANCELLOR  of 
the  Chancellor-Stewart  expedition, 
which  was  conducted  under  the 
auspices  of  the  Field  Museum  of  Chi- 
cago, is  due  in  Hollywood  early  in 
January.  The  expedition  went  into 
Malaysia  to  Seloe-Pedarig  and  the 
Island  of  Flores  early  in  the  spring 
of  1929  and  returned  a  year  later. 

While  in  the  East  the  expedition 
had  the  full  co-operation  of  the  resi- 
dent Dutch  officials.  Thus  they  were 
able  to  take  in  Cinematographic  equip- 
ment. As  a  result  they  brought  out 
for  the  first  time  actual  motion  pic- 
tures of  the  commodus  varanidae,  a 
lizard  generally  considered  prehis- 
toric. Not  only  did  the  expedition 
return  with  many  photographs  of  the 
reptile  but  with  living  specimens  of 
the  varanidae.  The  pariy  worked 
under   very    rough   conditions. 

These  pictures  are  going  to  be  cut, 
titled  and  edited  and  will  be  issued 
as  silent  pictures.  Also  they  are 
going  to  be  recorded  with  scientific- 
lectures  on   sound  on   disc.     The   sub- 


jects will  be  ready  for  showing  in 
February. 

Since  his  return  last  spring  from 
Malaysia  Chancellor  has  conducted  an 
independent  expedition  of  his  own  to 
the  South  Seas,  where  he  secured 
with  sound  equipment  many  records 
of  the  native  dances.  These  with  the 
history  of  the  legends  the  dances  are 
supposed  to  interpret  will  be  prepared 
for  the  educational  market  and  pos- 
sibly for  the  theatrical.  They  will 
be  cut  into  from  15  to  20  one-reel 
subjects  in  three  forms — as  silent, 
sound  on  disc  and  sound  on  film. 

The  laboratory  work  and  recording 
will  be  done  by  Hollywood  Film  En- 
terprises. F.  K.  Rockett  of  the 
Hollywood  company  is  acting  as  the 
personal  representative  of  Chancellor. 


Fairbanks  While  Abroad 

W  ill  Make  Sound  Pirtares 

WHEN  Douglas  Fairbanks  sails 
for  his  trip  around  the  world 
Ipnuaiy  3  he  will  take  with  him 
a  portable  sound  equipment.  The  re- 
cording apparatus,  which  was  espe- 
cially built  to  his  order  by  the  Tanar 
Corporation,  will  be  complete  in  two 
cases,  each  10x10x20  inches  and 
weighing  in   all    but   120   pounds. 

The  batteries  will  total  in  weight 
20  pounds,  three  of  which  are  the 
144  volt  airplane  variety  each  weigh- 
ing 5  pounds,  and  the  other  three 
weighing  but  5  pounds  all  together. 

The  contract  was  given  to  Tanar 
following  tests  of  the  standard  size 
equipment  at  the  United  Artists  stu- 
dio and  was  built  under  the  super- 
vision of  Victor  Flemming,  represent- 
ing the  buyer. 

With  the  sound  apparatus  will  go 
a  complete  Bell  &  Howell  camera 
equipment.  Fairbanks  is  sailing  on 
the  Belgenland  on  January  3,  stop- 
ping off  for  a  visit  in  Siam. 


Rare  shot  of  group  motion  picture  shoiv  in  Lutheran  Memorial  Church,  Chi- 
cago, where  ivith  a  Filmo  the  men's  club  clears  $40  for  the  church's  fair 


Thirty-six 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  1931 


Hozv  Old  World  Artist  Home  Grew 
On  Bleak  Arroyo  Seco  Wasteland 


By  EDWIN  M.  WITT 


NOT  many  years  ago,  on  a  slop- 
ing- hillside  near  the  Arroyo 
Seco,  situated  between  Los  An- 
geles and  Pasadena,  sat  Clyde  Browne, 
In  his  ears  the  hum  of  insect  life 
and  the  soft  whisper  of  the  trade  wind 
blowing  through  the  broad  expanse 
of  wild  oats,  cacti  and  sage  spread 
before    him. 

Browne  saw  not  the  weeds  and  the 
waste.  Instead,  materializing  in  the 
dreamy  haze,  there  grew  before  his 
eyes  high-domed  towers,  cloistered 
halls,  flagged  court,  broad  tiled 
roofs,  hand  forged  grills,  and  in  the 
towers  appeared  old  bells  with  mellow 
chimes. 

He  visualized  a  congenial  workshop 
for  artists,  writers  and  musicians,  to- 
gether  with     those     of    allied     crafts 


seeking-  their  ideal  in  studio  require- 
ments, one  perfectly  suited  to  them 
and    their    work. 

Builder,  artisan  and  poet,  with  skill 
and  patient  industry  Browne  wrought 
and  built  the  Abbey  San  Encino.  The 
countryside  was  culled  for  stones  of 
every  hue — bricks  from  the  mission's 
crumbling  walls,  forts  and  hacienda. 
Old  doors  and  timber  also  were 
gleaned.  He  molded  the  clay  upon  the 
place  where  he  would  build,  dried  the 
bricks,  built  an  immense  pyre,  burned 
them  to  a  ruddy  hardness,  and  the 
walls  and  arches  were  formed. 

Old   World   Romance 

From  the  Old  World  came  ship's 
lanterns,  cathedral  glass,  old  cathe- 
dral  organ   pipes,   marble   altar   rails 


The  Abbey  San  Encino,  built  as  a  workshop  for  artists  by  Clyde  Browne 


from  Italy,  iron  from  a  Spanish  pal- 
ace, Roman  nails,  a  sad-voiced  bell 
from  Cathay,  crosses  from  the  Mount 
of  Olives,  burial  jugs  from  the  Incas. 
In  the  patio  and  on  the  terraces  he 
created  the  atmosphere  of  Old 
World  romance.  One  seems  to  see 
dark  maidens  strolling,  casting  shy 
glances  or  sitting  upon  the  crum- 
bling walls  whispering  secrets  and 
gossip  of  gay  caballeros. 

Within  the  walls  of  the  high-arched 
chapel  is  the  organ  flanked  by  the 
stained  glass  windows,  the  glass  from 
a  Belgian  cathedral,  shell-ruined  in 
the  World  War,  the  soft  colored  light 
filtering  through,  a  setting  for  a  St. 
Cecelia.  Tall  hand-carved  candlesticks 
on   either  side  complete  the  picture. 

From  the  organ  now  we  may  turn 
to  the  nave,  and  down  the  center  be- 
tween the  high-backed,  hand-carved 
pews,  see  an  immense  fireplace  with 
carved  ledges,  and  to  the  right  a 
study  filled  with  old  arms  and  old 
pictures,  relics  of  the  World  War, 
old  books  and  furniture.  Then  we 
may  notice  a  stairway  winding-  down- 
ward to  dungeons,  with  steel-doored 
cells,  all   reeking   of  mold  and  age. 

Towers,  chapel,  gardens,  walls, 
dungeons,  old  arms,  weird  gods  of 
forgotten  people,  tinkling  fountain, 
soft  shadows  on  old  stone  and  colored 
tile,  soft  mellow  notes  from  chapel 
bell — -where  is  the  care-worn  world  of 
today? 

Visiting  the  abbey,  seeing  and  feel- 
ing its  atmosphere,  gives  one  the  rar- 
est of  all  sensations  today,  a  beau- 
tiful, tangible,  romantic  loveliness 
that  we  dream  from  seeing  old  pic- 
tures and  reading  old  books. 


Mitchell  and  Bell  &  Howell  Cameras 

Sales  and  Rentals 

For    Rent Three    Mitchell    sound    cameras    complete,    including    two     1,000-ft.    magazines 

with  each  camera  at   regular  camera   rental. 
For    Sale Bell     6c     Howell     cameras    complete    and    in    first     class    condition.       Prices    on 

application. 


J.  R.  LOCKWOOD 


GRanite   3177 
Phone 


1108    North    Lillian    Way 
Hollywood,    California 


Cable    Address 
"Lockcamera"    Hollywood 


January,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-seven 


After  200  Years  of  Opera 
House  Is  Wired  for  Sound 

AFTER  two  hundred  years  of 
uninterrupted  use  for  its  de- 
signed purpose  the  opera  house  of 
Malta  will  be  transformed  into  a 
sound  film  theatre.  Uncle  Sam  so 
reports  to  the  Motion  Picture  Bu- 
reau in  Washington  through  one 
of  his  vigilant  correspondents. 

The  message  would  seem  to  be 
of  larger  import  than  the  cryptic- 
one  of  less  than  two  score  words 
with  which  it  was  sent  out  to  the 
public. 

Here  is  a  structure  that  was  ded- 
icated to  the  highest  form  of  en- 
tertainment a  year  before  the 
Father  of  His  Country  saw  the 
light  of  day,  has  so  continued  as  a 
home  of  opera  through  the  more 
important  colonial  period  of  this 
land,  through  the  Revolution  and 
all  the  wars  this  country  has 
known. 

For  67  years  it  was  operated  un- 
der the  rule  of  the  Order  of  St. 
John  of  Jerusalem,  for  2  under 
Napoleon  and  for  131  under  Sir 
John  Bull. 

From  now  on  its  old  walls  will 
ring  with  the  voices  of  singers 
whose  notes  may  have  been  ut- 
tered across  the  Atlantic — in  days 
to  come  even  with  voices  of  sing- 
ers whose  vocal  chords  long  have 
been  silent. 

And  so  passes  the  old  order. 


Belgenland  Installs   Sound 

for  Its  135-Day  World  Trip 

When  the  Red  Star  Liner  Belgen- 
land sailed  out  of  New  York  Decem- 
ber 15  for  a  135-day  cruise  around 
the  world  it  carried  with  it  a  Western 
Electric  dual  portable  sound  system 
specially  designed  for  service  on 
steamships.  Talking  pictures  will  be 
shown  over  this  equipment  to  passen- 
gers on  board  throughout  the  entire 
cruise. 

Installation  of  the  equipment  was 
rushed  to  completion  by  Erpi  engi- 
neers during  the  Belgenland's  short 
stay  in  New  York. 


Picture  Photographed  by  War  Pigeon 


Hominy  pigeon  with  automatic  cam- 
era attached  for  use  in  -war.  These 
cameras  are  automatic  and  will  take 
only  one  shot,  a  sample  of  which  is 
shown  below.  An  Englishman  writ- 
ing of  the  use  of  animals  and  birds 
in  war  said  recently:  We  do  not 
need  reminders  of  such  aid  to  make 
us  fond  of  our  birds  and  pets, 
and  the  tragic  events  in  Belgium, 
where  ruthless  cruelty  made  the 
people  of  ivhole  towns  homeless, 
have  brought  out  evidence  of  this 
abiding  affection.  An  Englishman 
in  Lou  rain  triumphantly  saved  u 
canary  from  the  perils  of  a  blaz- 
ing  house,  and  another  brought  away 
his  favorite  dog  and  her  puppies 
and  carried  them  across  Belgium 
with  dauntless  devotion.  Another 
pet  has  deserved  equally  as  well  as 
the  canaries  of  its  owners,  and  that 
is  the  ho m i n g 
pigeon,  of  which 
the  clever  Belgians 
ha,ve  made  excel- 
lent   /'.ST. 

Th  esc  pigeon 
C  a  m  e  r  a  s  are  so 
light  and  so  per- 
fectly balanced  that 
they  do  not  seera  to 
hamper  the  bird's 
flight  in  the  least 
and  the  pigeons  ap- 
pear to  be  rather 
proud  to  wear  them. 

The  snap  shot 
herewith,  consider- 
ing murky  weather 
cud  the  flight  of 
the  pi  g  e  o  n,  is 
pretty  good.  The 
b  r  i  d  g  e  is  plain 
enough  as  is  also 
the  steamer  pass- 
ing beneath. 


Among  the  passengers  sailing  were 
Professor  Albert  Einstein  and  his 
wife,  bound  for  California.  Officials 
of  the  line  were  wondering  whether 
the  talkies  on  board  would  lure  the 
noted  scientist. 


As  the  famous  German  requires  the 
presence  of  an  interpreter  when 
English  is  spoken  it  is  probable  his 
fondness  for  talking  pictures,  if  any, 
will  not  extend  to  those  reproducing 
that  language. 


King 

WHETHER 
WHETHER 

Charney  says . . . 

IT  BE  CARBON  OR  INCANDESCENT  LIGHTING 
IT  BE  TALKIES  OR  SILENT 

Insist       ^      4 

r~ 

For  definite  results 

AGFA  RAW  FILM  CORPORATION 

Thirty-eight 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  1931 


Committee  Reports 

(Continued  from  Page  35) 

made  possible  at  distances  of  the 
order  of  20-40  feet.  One  such  device 
utilizes  a  metal  horn  with  the  micro- 
phone placed  at  the  throat.  In  an- 
other form,  applied  commercially  by 
RKO  Studios,  sound  is  picked  up  by 
an  ellipsoidal  or  parabolic  reflector 
and  focused  on  a  microphone,  with  the 
sensitive  face  of  the  transmitter 
turned  away  from  the  action. 

The  advantages  of  this  type  of  con- 
centrator are  relatively  high  gain, 
ability  to  record  against  wind  or  noise 
interference,  and  suitable  acoustic- 
characteristics  for  high  quality  pickup 
at  a  distance. 

The  importance  of  these  factors  in 
lowering  moving  picture  production 
costs  is  described. 


PHOTOFLASH  LAMP 

By   Ralph    E.    Farnham, 
General   Electric 

The  paper  on  the  photoflash  lamp 
first  discusses  in  a  tabular  form  the 
various  phases  of  photography  for 
which  a  flash  source  is  advantageous. 
The  particular  needs  of  each  type  of 
photography  establishes  the  require- 
ments of  a  satisfactory  flash  light  and 
associated  equipment.  The  new  photo- 
flash  lamp  is  then  described  and  its 
operating  characteristics  given. 

The  design  features  of  two  suitable 
types  of  reflector  equipments  also  are 
shown.  Following  this,  methods  of 
employing  the  photoflash  lamp  are  de- 
scribed. The  application  of  this  lamp 
to  motion  picture  photography  is  men- 
tioned. 


COLOR   PHOTOGRAPHY 

By  Palmer  Miller  and  P.  D.  Brewster 

Our  paper  first  considers  the  nec- 
essary requirements  in  the  camera — 
the  comparison  of  advantages  of  using 
a  single  negative  to  record  the  three- 
color  separations  and  the  use  of  three 
separate  negatives  —  followed  by  a 
study  of  the  advantages  of  using  sep- 
arate films  sensitized  for  different  col- 
ors, to  aid  in  obtaining  sharp  separa- 
tions in  comparison  to  the  use  of  pan- 
chromatic film  and  filters. 

The  question  of  the  speed  and  the 
range  of   focal   lengths   of   the   lenses 


required  in  the  cameras  for  practical 
use  in  the  studios  is  then  considered. 

Different  possibilities  for  the  pro- 
duction of  the  positive  prints  are  then 
considered  with  special  attention  to 
dye  mordaunting  processes.  Require- 
ments as  to  definition  of  the  image, 
range  of  color  and  clarity  of  color  are 
discussed. 

The  paper  concludes  with  a  number 
of  slides,  showing  curves  of  filters, 
curves  or  desired  color  separations 
and  transmissions  of  H  &  D  strips. 
The  effect  of  superposing  different 
color  strips   is  demonstrated. 


hk;h  intensity  carbons 

By  D.  B.  Joy  and  A.  C.  Downes, 
National  Carbon 

The  effect  of  the  variation  in  the 
relative  positions  of  the  positive  and 
negative  carbons  in  a  commercial  high 
intensity  lamp  burning  13.6  millime- 
ter carbons  is  investigated.  The  fu- 
tility of  specifying  an  arc  voltage 
without  fixing  the  position  of  the  pos- 
itive carbon  with  respect  to  the  nega- 
tive carbon  is  illustrated. 

It  is  also  demonstrated  that  a  rela- 
tively small  movement  in  the  position 
of  the  positive  carbon  crater  along 
its  axis  has  a  greater  effect  on  the 
steadiness  and  quantity  of  useful  light 
from  the  high  intensity  arc  than  is 
ordinarily  supposed. 

The  positions  of  the  carbons  at 
which  maximum  light  and  the  maxi- 
mum steadiness  of  light  are  obtained 
are  defined,  and  it  is  shown  that  for 
the  same  current  the  position  of  max- 
imum light  is  not  necessarily  the  po- 
sition of  maximum  steadiness. 


PHOTOGRAPHY   IN    COLORS 

By  Glenn   E.  Matthews,  Eastman 

Almost  from  the  first  years  in 
which  motion  pictures  were  used  com- 
mercially, about  1895  to  1900,  experi- 
menters have  been  working  on  meth- 
ods of  producing  them  in  natural  col- 
ors. The  only  practical  processes  en- 
joying any  extensive  commercial  use 
in  the  theatres,  however,  are  subtrac- 
tive  processes  in  which  the  color  is 
incorporated  in  the  film. 

One  additive  process  has  had  exten- 
sive application  for  amateur  motion 
pictures  for  over  two  years.  Within 
the  past  year  a  large  number  of  color 


Aerial  Photography 

WM.  H.  TUERS 

Special  Motor  Camera 

Aerial  Stunt  Shots 
Process  Backgrounds 

Releases  —  ''The    Flying   Fleet," 

"Lilac     Time,"    "Border    Patrol 

Series,"  "HelVs  Angels,"  "Young 

Eagles." 

GR.  9097  HE.  1128 


motion  pictures  have  been  released 
with  sound  accompaniment  so  that  the 
ultimate  is  being  approached  in  mo- 
tion picture  photography,  namely  pic- 
tures in  color  and  sound. 

No  practical  methods  of  obtaining 
steroscopy  or  relief  have  as  yet  been 
found.  The  subtractive  processes 
which  have  been  used,  however,  are 
only  two-color  methods  and  therefore 
a  true  spectral  record  is  not  realized. 

Although  a  simple  process  of  color 
photography  yielding  a  print  which 
faithfully  reproduces  the  colors  of  na- 
ture is  greatly  needed,  most  of  the 
research  at  the  present  time  is  being 
directed  to  the  perfection  of  color  mo- 
tion pictures. 

Another  equally  important  field  is 
the  use  of  color  photography  in  pho- 
to mechanical  printing  processes  as 
colored  illustrations  have  come  into 
very  extensive  use  during  the  past  15 
years.  The  work  of  different  investi- 
gators may  naturally  be  viewed  by 
transmitted  light  and  by  reflected 
light,  and  (2)  motion  picture  color 
photography. 

The  discussion  of  the  different  proc- 
esses as  given  in  the  lecture  is  pref- 
aced by  a  description  of  the  princi- 
ples involved  in  the  photographic  re- 
production of  color. 


A  Catholic  film  review,  La  Revue 
du  Film,  has  been  founded  in  Belgium. 
It  will  be  the  official  organ  of  the 
Central  Catholic  Film  Organization 
and  affiliated  bodies.  Important  funds, 
it  is  stated,  have  been  put  at  the  dis- 
posal of  the  Catholic  film  organiza- 
tions for  production  and  distribution. 


Negative  Developing  and  First  Print 

Sound  Track  Specialists 

The   Laboratory   of   Personal   Service 


ASSOCIATED  FILM  ENTERPRISES 


Phone   GLadstone   5118 


1056   Cahuenga   Avenue 


Hollywood 


Janunnj,  19-11 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty -nine 


Trueball 
Tripod  Heads 


MODEL   B 

Their  use  for  follow  shots 
assures  smooth  operation, 
having  an  equal  tension  on 
all  movements.  Also,  their 
action  is  unaffected  by 
temperature. 

Fred  Hoefner 

Cinema  Machine   Shop 

5319   Santa   Monica   Blvd. 

GLadstone  0243  Los  Angeles 


MELROSE 

Trunk  Factory 

UNION  MADE  Camera 

Cases  for 
UNION  CAMERAMEN 

UNION   MADE   Camera   Num- 
ber Boards 


Trunk  and  Luggage  Repairing 
Our  Specialty 


Automobile  Trunks,  Sample  and 
Make-Up  Cases  to   Order 

GLadstone  1872     646  N.  Western 
LOS  ANGELES,  CALIF. 


V><2lSfl  .  .  . 


For  professional  Bell  & 
Howell  and  DeBrie  cameras. 
Send  full  description  for  cash 
offer.  Or  telegraph  Bass 
Camera  Company,  179  West 
Madison  street,  Chicago, 
Illinois. 


With  Compliments 

Earl    (Curly)    Metz 

Assistant  Cameraman 


James  E.  Woodbury 

Portrait   and    Commercial 
Photographer 

GRanite  3333     5356  Melrose  Ave. 
Los  Angeles,   Calif. 


RIES  BROS.,  INC. 

PHOTO  SUPPLIES 
GR   1185         1540  Cahuenga 


Dr.  G.  Floyd  Jackman 

DENTIST 

Member   Local   No.    659 

706    Hollywood    First    National    Bldg. 
Hollywood   Blvd.   at   Highland   Ave. 


GLadstone   7507  Hours: 

And    bv   Appointment 


9   to    5 


Cinex  Testing  Machines 
Cinex  Polishing  Machines 


Developing    Machines 

Printing   Machines  rebuilt  for 

Sound  Printing 

Special  Motion  Picture  Machine 

Work 

Barsam  -  Tollar 
Mechanical  Works 

7239  Santa  Monica  Blvd. 

Hollywood,  California 

Phone  GRanite  9707 


The    new    "Local    659"    emblem. 
Small,  chic  and   attractive.      Or- 
der from  your  Secretary  or  direct 
from  manufacturers. 

J.  A.  Meyers  &  Co. 

822  South  Flower  Street 
The   largest   jewelry   factory 

in  the  West 
Diamonds — Watches — Jewelry 


Phone  GLadstone  4151 

HOLLYWOOD 
STATE  BANK 

The  only  bank  in  the  Industrial 

District  of  Hollywood  under 

State   supervision 

Santa    Monica    Boulevard   at 
Highland  Avenue 


Turn  your  scrap  film  and  short 
ends  into  cash 

HORSLEY  CHEMICAL 
COMPANY 

1123  Lillian  Way       GLadstone  5490 
Hollywood 


Forty 


The    INTERNATIONAL    PHOTOGRAPHER 


January,  1931 


Wishing  everyone  success  for  theNeivYear 

VERNON  L.  WALKER 

Specializing  in 

PROCESS 
Miniature,  Trick  and  Unusual  Shots 


Address  601  West  Fairmont,  Glendale,  Calif. 
DO.  5032-R  HE.   1128 


TO  MY  FRIENDS 
.///  over  this  Old  World. 

i  wish  you 
Health 
Happiness 
Success 


Glenn  R.  Kershner 

42+5  Jefferson  Ave.,  Culver  City 


W.   A.   SICKNER 

FIRST   CAMERAMAN 

Complete   Akeley   Equip- 
ment for  Photographing 
Sound  Pictures 

CRestview  7255     GLadstone  5083 
HEmpstead  1128 


Walter  J.  Van  Rossem 

PHOTOGRAPHIC   LABORA- 
TORY. 
MITCHELL    CAMERA    No.    225, 

COMPLETE,  FOR  SALE 

HOlly  0725      6049  Hollywood  Blvd. 

Hollywood,  California 


E.  J.  OTOOLE 

Assistant 
HE   2539  HE    1128 


Alvin  Wyckoff 

Multicolor 


CLASSIFIED 


FOR  SALE— Cameras— Mitchell,  Bell  &  How- 
ell,   Akeley ;     lenses    and    accessories    of    all 

kinds ;    new    and    used.     HOLLYWOOD    CAM- 

ERA   EXCHANGE,    1511    Cahuenga   Boulevard. 

FOR  RENT — Three  Mitchell  cameras,  high 
speed  movements.     1000  ft.  magazines.    J.  R. 

Lockwood,   1108   N.   Lillian   Way.     GR.   3177. 

FOR   SALE— CAMERAS 

FOR  QUICK  SALE; — one  Universal  camera 
complete  with  tripod  «tnd  good  F3.5  lens, 
magazines  and  carrying  case.  Guaranteed  in 
good  condition  and  will  sell  for  $100  cash. 
Write    Ray-Bell    Films,    817    University    Ave., 

St.    Paul,    Minnesota. 

FOR  SALE— Turret  model  Universal  2",  3" 
and  F:1.9  2"  lens — four  magazines,  good 
tripod,  carrying  case,  dissolve,  footage  indi- 
cator, in  excellent  condition.  Cost  over  $700.00, 
will  sell  for  best  price  offered.  Ray-Bell  Films, 
817   University   Ave.,   St.   Paul,   Minn. 

FOR  SALE— MISCELLANEOUS 

3  COOKE  F:2.5  lenses— 3,  2  and  1%-inch,  all 
in  micrometer  mounts  ready  for  mounting 
B  &  H  camera.  A  sacrifice  price  will  be 
quoted   for  cash.     Ray-Bell   Films,   817   Univer- 

sity   Ave..  St.   Paul,   Minn. 

MITCHELL  high-speed   Camera  No.   225.    Van 

Rossem,    6049   Hollywood    Blvd.     HO    0725. 
FOR    SALE— Bell    &   Howell    Cinemotor.    Used 

one    picture.     $175.     J.    R.    Lockv/ood.      1108 
N.   Lillian  Way.    GR  3177. 

MISCELLANEOUS 

WANTED— FROM    GLOBE-TROTTING    CAM- 
ERAMEN     FILM      OF     FOREIGN     COUN- 
TRIES.      ADDRESS      REX      GORDON,      1215 
JUNE  ST.,  HOLLYWOOD.    PHONE  GR  6933. 

SAVE  25  to  50%  on  Voigtlander,  Zeiss,  East- 
man and  Graflex  Cameras.  Hundreds  of 
new  and  used  bargains  to  choose  from.  All 
guaranteed  for  one  year.  Also  Cameras  re- 
paired, rented,  bought  for  cash,  exchanged  at 
Peterson's  Camera  Exchange,  356  S.  Broad- 
way.    Upstairs    entrance    Room    321. 


WEBB-DOUGLAS 
PRODUCTIONS 

Completing 

"SWANEE  RIVER" 

with   Grant  Withers,  Thelma  Todd 

and   Philo  McCullough 

for    Sono-Art-World-Wide    Release 

Directed   by  Raymond  Cannon 

Harry  Webb  Supervising 


ELMER  G.  DYER 

HE8116-HE1128 


Art  Reeves 
Cliff  Thomas 


Phone 
HOHywood   9431 


/(AMIM 

EXCHANGE 


The  Clearing  House 
for  Cameramen 

Mitchell  and  Bell  &  Howells    FOR  RENT 

Cameras  and   Projectors  and 
Accessories   bought   and   sold 

Commercial  Photography 


1511    N.    Cahuenga    Blvd. 

HOLLYWOOD,  CALIFORNIA 


Kodak  Supplies 


Still  Finishing 


16  mm.,  35  mm.  Developed  and  Printed 


>**"^Y   /#n'r,e^ 


FEBRUARY  •  NINETE 


A  Few  More  of  Our  Current 
Photographic  Successes 


Negative?      (11        M I  IN  T  )      Naturally! 


«EG.  U.S.  PAT. OFF 

CAMERAMEN 

"Cimarron"    R.  K.  O Eddie   Cronjager 

"Beau  Ideal"    R.  K.  O Roy  Hunt 

"The  Royal  Bed" R.  K.  O Leo  Tover 

"Stampede" Paramount Archie  Stout 

"Scandal   Sheet"    Paramount David  Abel 

"The  Gang   Buster" Paramount Harry  Fischbeck 

"Tom  Sawyer"    Paramount Charles  Lang 

"xi       r>       .    m      i  tui     r     aa  \    William    Daniels 

1  he   L»reat    Meadow    M.    d.    M ,     -,,     ,     ^     ,  T. 

{    Clyde  De   Vinna 

"Reducing"    M.    G.    M Len  Smith 

"The  Bachelor  Father" M.    G.    M Oliver  Marsh 

"One   Heavenly   Night" United   Artists ,    r>  -ri       i 

J  (    Gregg   1  oland 

.<r>.       i  •   i      "  /-i       i-     i  i    •      i    a  \    Rollie    Totheroh 

t^ity   Lights       Chaplin-United  Artists ,    ^      j  D  n     i 

J  ^  I    Gordon     rollock 

"Third  Alarm"    Tiffany     Max  Dupont 

"Aloha" Tiffany     Charles  Stumar 

"Sin  Takes  a  Holiday" Pathe    John    Mescall 

"The      ''tiFPONP     Trade  Mark  Has  Never 
Been  Placed  On  An  Inferior  Product" 

SMITH  &  ALLER.  Ltd. 

6656  Santa  Monica  Boulevard  HOllywood  5147 

Hollywood,  California 

Pacific  Coast  Distributors 

For 

DU  PONT  PATHE  FILM  MFG.  CORP. 

35  West  45th  Street  New  York  City 


February,  19-31 


The    INTERNATIONAL    PHOTOGRAPHER 


Ow 


Bell  &  Howell 

EYEMO 

....  three-lens  turret 
.  .  .  seven   film   speeds 


•  Bell  &  Howell's  characteristic  precision  of  design 
and  workmanship  has  been  carried  even  a  step  further 
in  the  new  Eyemo  71-C  Camera,  which  establishes  a 
new  record  in  flexibility  of  35  mm.  hand  equipment. 

The  variable  speed  governor  has  seven  speeds  rang- 
ing from  4  to  32  frames  a  second:  4, 6, 8, 12, 16, 24,  and 
32.  A  speed  conversion  dial  is  built  into  the  side  of  the 
camera,  giving  correct  lens  openings  for  any  speed. 

The  permanently  built-in  hand  crank  in  addition 
to  the  spring  motor  is  a  new  feature.  Its  use  is  optional 
with  the  operator.  The  rotation  of  the  crank  is  regu- 
lated according  to  the  setting  of  the  speed  indicator. 
The  governor  acts  as  a  brake,  enabling  the  operation 
of  the  crank  at  no  greater  than  the  speed  for  which 
indicator  has  been  set. 

The  turret  will  accommodate  all  lenses  ordinarily 
employed  on  the  non-turret  Eyemo.  Lenses  used  on 
previous  Eyemo  models  may  be  remounted  at  the 
Bell  &  Howell  factory  or  branches  for  use  with  the  new 
71-C  Turret  Head  Model.  Write  for  folder  No.  36-E. 


•    B  &  H  AUTOMATIC  COMBINATION    • 
16-35  MM.  FILM  SPLICER 

Bell  &  Howell  Standard  Film  Splicing  Machines 
are  well-known  for  the  quick,  permanent  splice 
which  they  make  —  a  splice  which  does  not  affect 
film  flexibility  or  encroach  upon  picture  space.  A 
film  joined  on  a  B  &  H  Splicer  is  perfectly  welded 
in  accurate  alignment,  eliminating  misframes  and 
other  evils  of  inferior  patching.  With  its  new  style 
cutter  blades  and  the  heating  unit  which  maintains 
at  a  steady  temperature  all  parts  of  the  machine  with 
which  film  comes  in  contact,  the  B  &  H  Splicer  does 
its  work  at  highest  efficiency.  The  new  safety  lock 
grounded  plug  more  than  meets  the  rigid  require- 
ments of  insurance  underwriters.  The  Model  No.  6 
Film  Splicer,  a  standard  35  mm. 
positive  splicer,  is  equipped  with 
disappearing  pilots  for  splicing 
16  mm.  film.  These  pilot  pins 
are  set  diagonally,  producing 
the  B  &  H  diagonal  splice  with 
nearly  30%  more  bonding  sur- 
face than  a  right  angle  splice.  A 
lever  drops  the  16  mm.  pins  out 
of  sight  for  35  mm.  splicing. 
Write  for  catalog  No.  36-S. 

BELL  &  HOWELL 

Bell  &  Howell  Co. 
1849  Larchmont  Ave.,  Chicago,  111. 

NewYork,  11  West  42nd  St.  Hollywood, 
6324  Santa  Monica  Blvd.  London  (B  &  H 
Co.,  Ltd.)  320  Regent  St.  Established  1907 


Two  The    INTERNATIONAL    PHOTOGRAPHER  February,  1931 


A    PLEDGE 

To  Theatre  Owners,  Managers 
and  Projectionists  to  Maintain 


TRADE  MARK   REG'D. 


SUPREMACY 

It  has  been  our  responsibility  to  satisfy  the 
needs  of  the  motion  picture  industry  and 
to  meet  many  emergencies  created  during 
a  period  of  extraordinary  expansion  and 
unparalleled  activity. 

With  increased  manufacturing  facilities  and 
closer  contact  with  our  selling  organization 
we  pledge  this  great  industry  that  we  will 
render  even  greater  service  and  maintain 
the  high  quality  which  has  won  a  world- 
wide supremacy  for 


m 

TRADE    MARK    REG'D. 


THE      INTERNATIONAL      PROJECTOR 


INTERNATIONAL  PROJECTOR  CORPORATION 

90  COLD  STREET  NEW  YORK 


INTERNATIONAL 
PHOTO  GPAPHE  R 


Official  Bulletin  of  the  International 
Photographers  of  the  Motion  Pic- 
ture Industries,  Local  No.  659,  of 
the  International  Alliance  of  The- 
atrical Stage  Employees  and  Mov- 
ing Picture  Machine  Operators  of 
the  United  States  and  Canada. 


Affiliated  with 

Los  Angeles  Amusement  Federa- 
tion, California  State  Theatrical 
Federation,  California  State  Fed- 
eration of  Labor,  American  Fed- 
eration of  Labor,  and  Federated 
Voters  of  the  Los  Angeles  Amuse- 
ment Organizations. 


Vol.   3 


HOLLYWOOD,    CALIFORNIA,   FEBRUARY,   1931 


No.   1 


"Capital  is  the  fruit  of  labor,  and  could  not  exist  if  labor  had  not  first  existed. 
Labor,  therefore,  deserves  much  the  higher  consideration." — Abraham  Lincoln. 


CONTENTS 


La  Voy  Sees  Samoans  in  Royal 
Ceremonials  4 

All  in  Cameraman's  Day's  Work 6 

Dirt  and  Scratches 8 

Conducted  by  Ira  Hoke 

Chicago    10 

By  Harry  Birch 

Teamwork  and  Cameramen 12 

Recording  Improvements  Require 
Higher  Standards   14 

Royal  Families  Real  News  Material.  .15 
By  Ray  Fernstrom 

Theatre  Installation  Costs  to  Gain.  .16 

Long  List  of  European  Film 
Magazines   17 

European  Film  Items  of  Interest 19 


Hatian   Glories  Vividly  Portrayed  by 

Parichy    20 

By  Esselle  Parichy 

Chaplin's   "City   Lights"   to   Open    in 
Splendor    23 

Dr.   Mackenzie  Chairman  of  Western 
Engineers   23 

Looking  In  on  Just  a  Few  New  Ones.  .24 
By  George  Blaisdell 

Eastman  Plates  Create  Standards  ....  28 

Amateur  Department  29 

Will  Manufacture  Wax  Records 29 

How  16  mm.  Hurdles  Over  Radio 31 

When  Industry  Calls  on  16  mm 32 

How  Operations  Are  Photographed.  .  .35 
Amateur  Magicians  Make  Sound 
Screen  Record 36 


The  International  Photographer  is  published 
and  M.P.M.O.of  the  U 
Entered  as  second  class  matter  Sept.  30,  1930, 

the  act  of  M 
Copyright  1930  by  Local  659,  I.  A.  T.  S.  E.  and 

Howard  E.  Hurd, 

George  Blaisdell Editor 

Ira  Hoke     ------     Associate  Editor 

John  Corydon  Hill 

Subscription  Rates — United  States  and  Can 

Office  of  publication,  1605  North  Cahuenga  Av 


monthly  in  Hollywood  by  Local  659,  I.  A.T.S.E. 
nited  States  and  Canada 

at  the  Post  Office  at  Los  Angeles,  Calif.,  under 
arch  3,  1879 
M.  P.  M.  O.  of  the  United  States  and  Canada 

Publisher's  Agent 

Lewis  W.  Physioc    1 

Fred  Westerberg      S 

-     -     -     Art  Editor 
ada,  $3.00  per  year.    Single  copies,  25  cents 
enue,  Hollywood,  California.    HEmpstead   1128 


Technical  Editors 


The  members  of  this  Local,  together  with  those  of  our  sister  Locals,  No.  644  in  New  York,  No. 
666  in  Chicago,  and  No.  665  in  Toronto,  represent  the  entire  personnel  of  photographers  now 
engaged  in  professional  production  of  motion  pictures  in  the  United  States  and  Canada.  Thus 
The  International  Photographer  becomes  the  voice  of  the  Entire  Craft,  covering  a  field  that 
reaches  from  coast  to  coast  across  North  America. 
Printed  in  the  U.  S.  A.     1-^^>2    at  Hollywood,  California. 


Four 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  1931 


La  Voy  Sees  Samoans 
In  Royal  Ceremonial* 


WHILE  many  of  the  assign- 
ments that  fall  to  the  news 
weekly  cameramen  come  within  the 
category  of  "tough"  that  is  not  true 
of  all  'of  them.  So  thought  Merl 
La  Voy  when  he  got  word  from  Pathe 
that  he  was  to  be  its  representative 
to  accompany  the  American  members 
of  the  Ameriean-Samoan  Commission 
on  its  long  journey  across  the  Pacific. 
The  American  representatives  were 
Senators  Bingham  of  Connecticut  and 
Robinson  of  Arkansas  and  Congress- 

Panel  at  left  reading  down:  U.  S. 
cruiser  Omaha,  on  which  the  Amer- 
ican commission  sailed  10,500  miles  on 
its  Samoan  visit.  Samoan  stages  a 
cockfight  in  front  of  his  home  for  the 
Pathe  News'  man.  Old  Nature  stages 
a   cloud  formation 


men  Bedy  of  Maine  and  Williams  i 
Texas.  Accompanying  them  was  Ca! 
tain  Furlong,  chief  of  island  gover' 
ments  of  the  navy.  For  transport 
tion  Uncle  Sam  assigned  the  cruisi 
Omaha,  and  in  the  course  of  its  jou 
ney  the  stanch  craft  logged  10, 5( 
miles. 

The  party  left  Los  Angeles  Se 
tember  11  last  and  returned  Octobi 
Id,  thirty-eight  days  later.  Twent; 
three  days  were  spent  at  sea,  thn 
days  at  Honolulu  and  twelve  days 
American  Samoa. 

The  primary  objective  of  the  cor; 

Upper  left  centre:  Commission  hoW 
session  in  headquarters  of  the  Ma 
Samoan  political  organization.  Oi 
posit e ■:  Samoan  girls  dance  for  tl 
Americans 


February,   19-11 


The    INTERNATIONAL    PHOTOGRAPHER 


Five 


ission  was  to  investigate  conditions 
American  Samoa  and  on  the  return 
this  country  to  draft  a  bill  of  rights 
br  the  islanders  for  presentation  to 
bngress.  It  was  the  aim  of  the  com- 
ission  not  only  to  secure  the  opin- 
Ins  of  the  high  chiefs  of  the  islands 
at  to  throw  open  the  hearings  and 
[cure  views  from  any  one  who  cared 
i  come  forward  and  talk. 
Uncle  Sam  takes  the  Samoans  seri- 
iasly  and  seeks  to  legislate  for  them 
I  such  manner  as  really  will  bring 
I  them  the  greatest  good.  It  is  in 
jiat  spirit  that  the  United  States 
lavy  has  governed  the  islands  for 
ae  preceding  thirty  years.  It  has 
Itevented  from  getting  a  foothold  the 
'hite  beachcomber  element  as  well  as 
i her  contaminating  and  degenerating 
ifluences  from  which  a  majority  of 
land  peoples  have  suffered  through 
jo  close  contact  with  certain  types  of 
.hite  men. 

[  As  a  result  of  this  policy  and  aided 
V  a  progressive  system  of  hospitali- 

ower  left  centre:  Kiru/'s  kava  cere- 
oiiii  held  in  honor  of  the  Americans, 
■pposite :  Samoan  ivarriors  in  hollow 
mare  put  on  one  of  their  more 
formal  ceremonies 


zation  and  related  medical  attention 
the  ten  thousand  islanders  so  far  as 
concerns  health  and  living  conditions 
are  better  off  than  any  other  parallel 
group  in  the  Pacific. 

The  commission  had  under  consid- 
eration in  the  formulation  of  its  re- 
port three  plans: 

1.  Setting  up  civil  government. 

2.  Continuing  as  in  the  past  under 
naval    administration. 

3.  Constituting  American  Samoa 
as  an  ethnological  park  wherein  the 
natives  may  live  their  own  lives  as 
the  climate  and  environment  in  gen- 
eral may  indicate  and  remain  free 
from  the  untoward  influences  previ- 
ously referred  to  and  making  them  in- 
dependent of  the  ordinary  United 
States  civil  administration. 

In  the  twelve  days  the  Americans 
were  in  the  islands  they  were  royally 
entertained  by  the  Samoans,  headed 
bv  Chiefs  Pallee,  Tufele,  Monga  and 
Mongale.  The  visitors  were  strongly 
impressed  by  the  wisdom  of  the  lead- 
ers and  the  high  standard  of  intelli- 
gence noted  in  the  Samoans  generally. 

Panel  at  ri<jht :  Ceremonial  dances 
pat  on  by  the  Samoans  in  honor  of  the 
American  members  of  the  commission 


A^tAjJk  u4  ,y/4  H 


Six 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  1931 


All  in  Cameraman  "s  Day  "s  Work 

It's  Same  to  Him  Whether  Locked  Up  with  Crazy 

Bear  or  Recording-  Women  Convicts 

Chanting-  Lord's  Prayer 


BLACK  bears  may  be  all  right  in 
quiet  surrounding's  if  caught  in 
cub  days  by  a  human  who  sort 
of  pals  with  the  critters,  as  such  are 
known  on  the  ranch  near  La  Junta 
where  Everett  Marshall  had  reared 
one  fine  specimen  of  the  species. 

But  when  that  black  bear  gets  into 
an  arena  surrounded  by  cages  with 
other  and  strange  bears — the  first  of 
his  kind  the  visitor  had  any  recollec- 
tion of  seeing: — and  1500  shouting  hu- 
mans he  is  not  good  company. 

All  of  which  was  suddenly  and 
somewhat  thrillingly  borne  in  on  the 
comprehension  of  J.  L.  Herrmann, 
Local  659,  Paramount  sound  news 
cameraman,  not  so  long  ago  at  the 
Swope  Park  Zoo  in  Kansas  City. 

Just  as  a  preliminary  to  or  ex- 
ploitation stunt  for  the  wrestling- 
bouts  for  that  evening  in  Convention 
Hall  Marshall  had  agreed  to  show 
that  a  human  could  whip  a  husky 
bear  in  the  wrestling  game.  Back 
there  on  his  ranch  he  often  had  done 
it,  he  insisted. 

That  looked  like  a  story  for  the 
news  man,  so  Herrmann  made  ar- 
rangements to  get  it,  and  exclu- 
sively. Not  to  be  handicapped  by 
shooting  through  troublesome  and  in- 
tervening bars  the  cameraman  sug- 
gested that  he  be  permitted  to  enter 
the  arena  with  the  contenders.  That 
was  okeh  with  the  zoo  man — but  per- 
sonally the  outside  looked  very  allur- 
ing to  him. 

Okeh    With    Wife 

When  it  came  to  the  selection  of  a 
referee  there  followed  a  series  of 
declinations.  One  was  certain  he 
wouldn't  photograph  to  advantage, 
another  was  married,  although  his 
wife  expressed  her  entire  willingness 
he  should  take  the  chance;  another 
decided  his  sister  would  be  unable  to 
drive  the  car  home.  Finally  Frank 
Cromwell,  a  member  of  the  park 
board,  said  he  would  oblige.  "I'm  get- 
ting old,  anyhow,"  he  added. 

But  when  Cromwell  got  a  look  at 
the  bear  he  decided  to  climb  the  bars 
to  the  top  near  the  microphone.  "No 
doubt  you  will  want  my  decisions  re- 
corded on  the  film,"  he  suggested. 

The  crowd  yelled  as  the  bear  en- 
tered the  arena  and  the  attending 
grizzlies  growled  furiously.  Smacks 
on  each  ham  by  the  flat  of  large 
shovels  tended  in  no  noticeable  de- 
gree to  impi-ove  the  temper  of  an  an- 
imal already  quite  flustered.  In  fact, 
Bruin  was  frothing  at  the  mouth  and 
plenty  ugly.  His  claws  were  extend- 
ed, his  teeth  bare,  as  the  Kansas  City 
Times  explained  in  more  detail.  Ke 
bounded,  feinted  and  snarled.  Sweet 
and    toothsome    chocolate    temptingly 


and  timidly  proffered  seemed  of  no 
avail. 

In  the  meantime  Herrmann  and 
George  L.  Graham,  of  Local  644,  his 
sound  man,  had  been  unable  to  se- 
cure a  picture.  As  a  matter  of  fact 
they  were  wondering  how  to  avoid 
supplying  the  animal  with  discon- 
tented white  meat.  They  took  no 
stock  at  the  time  in  that  herbivorous 
stuff  anyway.  The  signs  were  against 
the  truth  of  common  report.  They 
wanted  to  go  home,  but  the  bear  was 
nearer  the  gate. 

Finally  after  much  excitement  the 
bear  was  shooed  near  the  exit  by  the 
hefty  shovels  that  had  welcomed  him 
into  the  arena.  Disregarding  the 
warnings  and  aided  by  the  aroma  of 
peanuts  and  chocolate  they  finally  got 
Bruin  through. 

Christmas    Behind    Bars 

Herrmann  and  Graham  breathed 
not  more  easily  but  just  breathed.  Not 
only  had  they  saved  their  equipment 
but  their  hides,  too.  And  in  the  cir- 
cumstances they  considered  it  now 
their  turn  to  do  a  bit  of  celebrating 
themselves.  And  Kansas  City  is  a  hos- 
pitable town,  even  if  some  of  its  more 
outspoken  citizens  did  seem  a  bit  put 
out  because  of  the  inability  of  Mr. 
Bruin  to  stage  a  Roman  holiday  over 
a  couple  of  cameramen. 

It  was  the  day  before  Christmas 
when  Herrmann  and  his  sidekick 
dropped  into  Jefferson  City,  where  is 
situated  the  Missouri  Penitentiary. 
They  met  up  with  the  warden  of  the 
institution,  Leslie  Rudolph,  who  for 
twenty  years  has  presided  over  its 
destinies  and  within  the  past  year  has 
had  to  combat  two  rather  serious 
riots. 

Yes,  he  thought  it  would  be  all 
right  for  the  two  men  to  come  out  the 
next  day  and  bring  their  equipment 
and  take  a  few  pictures.  He  ex- 
plained that  conditions  were  rather 
crowded,  with  4400  on  the  roster  and 
many  more  arriving  every  day.  Cells 
designed  to  hold  one  person  were 
loaded  with  three  or  four. 

After  shots  had  been  taken  of  men 
parading  by  the  guards  and  receiving 
their  Christmas  dainties  and  of  near- 
by windows  each  filled  with  deeply  in- 
terested faces  the  warden  conducted 
Herrmann  to  the  women's  quarters, 
where  there  is  one  ward  for  the  white 
women  and  another  for  the  colored. 

To  the  surprise  and  also  the  delight 
of  the  news  men  the  warden  decided 
to  contribute  to  the  holiday  spirit  by 
bringing  out  on  the  lawn  fourscore  of 
the  women  prisoners,  all  garbed  in 
white  uniforms. 

With  the  grim  walls  of  the  build- 
ings forming  a  picturesque  if  forbid- 
ding backkground  the  whole  company 


John  L.  Herrmann 

sang  "Smiles."  After  a  lot  of  close- 
ups  the  negro  women  sang  revival 
hymns.  The  same  group  indulged  in  a 
dance.  There  followed  many  close-ups 
of  nimbly  moving  feet. 

From    "Smiles"    to — 

Then  with  the  white  women  in 
front  and  the  colored  ones  in  a  row 
behind  the  group  chanted  the  Lord's 
Prayer. 

The  gayety  that  had  marked  the 
faces  of  the  women  for  a  few  too 
brief  moments  no  longer  was  in  evi- 
dence. Countenances  now  were  set  and 
serious.  Only  too  plainly  revealed  be- 
hind each  were  crowding  memories  of 
other  and  tender  days,  of  circum- 
stances under  which  there  first  had 
been  implanted  in  the  mind  the  sim- 
ple words  of  the  ages  old  prayer. 

Even  the  spectators,  many  of  them 
hardened  and  all  of  them  more  or  less 
immune  to  unusual  scenes,  were 
deeply  moved. 

A  couple  of  days  later  in  Holly- 
wood, where  Herrmann  had  come  to 
spend  the  holidays  with  Mrs.  Herr- 
mann, the  cameraman  admitted  he 
never  had  experienced  a  moment  quite 
like  that  strange  one  at  Jefferson 
City. 

Herrmann  left  the  coast  on  the 
morning  of  December  31,  arriving  at 
Wichita  at  7  o'clock  that  evening. 
At  noon  the  next  day  he  again  took 
the  air,  and  in  2  hours  and  20 
minutes  he  landed  in  Omaha.  From 
there  he  took  the  train  to  Minneap- 
olis. 

In  the  last  few  months  in  the  course 
of  a  good-will  tour  to  Paramount  ex- 
changes Herrmann  has  covered  Louis- 
iana, Mississippi,  Arkansas,  Okla- 
homa, Texas,  New  Mexico,  parts  of 
Arizona   and   Northern   Mexico. 


JVi.A^D  A  -  ~  not  the   name  of  a  thing,  out  the   mark  of  a  research  service 


Tour 


Join  us  in  the  General  Electric  Program, 

broadcast  every  Saturday  evening  oj>er  a 

nation-unde  7^.  B.  C.  networ\. 


CONFIDENCE 

YOUR  confidence  in  the  quality,  performance 
and  leadership  of  General  Electric  MAZDA 
photographic  lamps  is  justified.  The  sterling  repu- 
tation of  the  General  Electric  Company  and  the 
seal  of  the  famous  MAZDA  research  service  are 
exemplified  in  every  G.  E.  MAZDA  lamp  in  service 
in  modern  cinematography. 

For  every  lighting  task,  general  and  specific,  rely 
upon  the  superiority  of  G.  E.  MAZDA  lamps. 
National  Lamp  Works  of  General  Electric  Com- 
pany,  Nela  Park,  Cleveland,  Ohio. 


GENERAL       ELECTRIC 


MAZDA      LAMPS 


Eight 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  1931 


era 


IRA  HOKE 


Cousin  Albert? 

Assistant  Cameraman — Who  you 
shootin',  Buddy? 

Still  Man  (about  to  photograph 
Einstein) — Whv,  don't  you  know? 
That's  one  of  the  greatest  men  in  the 
world. 

Assistant    (in  awe) — The  Pope? 

Still  Man— Oh,  no.  That's  Profes- 
sor Einstein,  the — 

Assistant — Say,  I  heard  about  him  ! 
He's  the  man  Universal  brought 
over  here  to  untangle  the  relative-ity 
situation  at  the  studio. 

Not   a   Chance 

First  Actor — I  hear  you  have  a 
part  in  the  new  R.  O.  W.  feature 
talkie? 

Second  Actor — Yeh,  I  finally  landed 
a  bit. 

First  Actor — Is  it  a  speaking  part? 

Second  Actor — No.  You  see  I  play 
the  part  of  the  leading  woman's  hus- 
band. 

Perfect  Alibi 

Business  Agent — What  are  the 
charges,  Pat? 

Pat — It  was  like  this.  Mike  bor- 
rowed a  still  camera  from  me  and 
when  it  was  returned  the  ground 
glass  was  broken. 

Business  Agent — Mike,  what  havj 
you  to  offer  in  defense  of  yourself. 

Mike — I  have  been  accused  un- 
justly. In  the  first  place  I  did  not 
borrow  any  still  camera  from  Pat. 
In  the  second  place  it  was  in  good 
condition  when  I  returned  it.  And 
in  the  third  place  the  ground  glass 
was  broken  when  I  received  it. 

The  Danger  Line 

Otto  Dyar,  publicity  photographer 
for  Paramount,  says  his  idea  of  a 
successful  actress  is  one  who  has  two 
sets  of  teeth.  One  for  eating,  the 
other  for  posing  for  tooth  paste  ads. 

Strange  as  it  Seems 

Cannon  and  Ball  operate  a  portrait 
studio  on  Sunset  Boulevard. 

Them   Satchels 

Director — Quick,  Props,  the  leading 
lady  is  looking  for  her  rings.  Find 
them,  somebody. 

Cameraman — That's  easy.  They're 
right  under  her  eyes. 

Like  X  in  Soap 

The  company  had  just  emerged 
from  projection  room  "B"  after  see- 
ing the  daily  rushes.  One  of  the  big- 
shots  remarked  casually  to  the  direc- 
tor: "Mike,  the  last  scene  vill  haff  to 
be  retaken." 

"What  was  wrong  with  that  one?" 
asked  the  director. 

"Diction,"  answered  the  big  shot. 


"Diction?"  gasped  the  director. 
"Why,  I  heard  every  word  perfectly." 

"Oh,  you  did,  did  you?  Veil,  I  didn't. 
I  couldn't  hear  the  final  k  in  swim- 
mink." 

A   Light  Task 

Ed  the  electrician  says  the  only 
thing  he  doesn't  like  about  the  movies 
is  the  lights. 

News  with  a  Bang 

Live  wire  news  cameramen  resort 
to  ingenious  devices  occasionally  to 
build  up  a  lead  for  a  story.  John 
Herrmann,  659,  ace  photographer  for 
Paramount  News,  recently  tried  to 
break  up  a  quiet  week  by  inserting 
the  following  ad  in  the  Kansas  City 
Star  and  the  Kansas  City  Post.  Of 
course  both  papers  refused  to  run 
the  ad,  but  its  wording  is  a  master- 
piece just  the  same.     Here  tiz: 

"We  are  interested  in  securing 
scene  of  a  first-class  bank  robbery. 
Any  bandits  in  or  about  Kansas  City 
contemplating  a  first-class  hold-up  in 
the  near  future  kindly  advise  Mr.  J. 
L.  Herrmann,  Paramount  News  Cam- 
eraman, Robert  E.  Lee  Hotel,  Kansas 
City,  Mo.  Information  will  be  held 
in  confidence." 

Life   in   the  Movies 

Cameraman — I  live  next  door  to  a 
movie  singer,  and  every  time  she 
practices  her  songs  her  husband 
rushes  out  to  the  front  porch  and 
remains  there  till   she  finishes. 

Propertyman — Why  does  he  dn 
that? 

Cameraman — So  all  the  neighbors 
can  see  that  he  is  not  beating  her. 


Attention   Mr.   Hoover 

The  hanging  scene  in  "A  Connecti- 
cut Yankee  in  King  Arthur's  Court" 
suddenly  faltered  during  rehearsal. 

"I  need  a  little  dialogue  here  for 
this  jailer  as  he  comes  to  free  you 
boys,"  said  Director  David  Butler, 
turning  to  Will  Rogers.  "Can  you 
give  me  an  idea,  Will?  Remember  he 
is  supposed  to  be  crazy." 

"Crazy,  eh?"  said  Will.  "Suppose 
you  have  him  say,  'I  predict  prosper- 
ity for  1931.'  " 

Boy  Wonder 

Cameraman — Jimmie,  your  reports 
are  all  balled  up.  I  don't  believe  you 
know  the  first  thing  about  mathe- 
matics. 

Assistant — On  the  contrary,  sir, 
mathematics  is  what  I  am  best  in. 
Just  ask  me  some  questions  and  I'll 
prove  it. 

Cameraman — O.  K.  How  many 
make  a  dozen? 

Assistant — Twelve,   sir. 

Cameraman — A  gross? 

Assistant — 144. 


Cameraman — Well,  then,  how  many 
make  a   million? 

Assistant — Very  few,  sir.  Very 
few. 


Enie  Menie  Minie  Mo 

Jimmie — That  actor  over  on  "B" 
set  is  the  nerviest  fellow  I  ever  heard 
of. 

Art — Howzat? 

Jimmie — When  his  rich  uncle  lay 
on  his  deathbed  what  did  that  bird  do 
but  send  him  a  bouquet  of  forget-me- 
nots. 

These  Dull  Times 

M.  Kains — The  Scotch  have  a  new 
use  for  old  razor  blades. 

M.  Hall— What  do  they  use  old 
razor  blades  for? 

M.  Kains — To  shave  with. 


Her  Number 

Speed  Mitchell  says — Don't  kick  if 
you  can't  get  central.  It  took  her  ma 
and  pa  18  years  to  raise  her. 

And  How— 

Assistant  Cameraman  (absentmind- 
edly  fumbling  several  greenbacks)  — 
Did  you  ever  see  a  nine-dollar  bill? 

Second  Cameraman — Certainly  not, 
dumbell.     They  don't  make  'em. 

Assistant  Cameraman — Well,  any- 
way, here's  one  I  just  received  from 
Local  659  for  my  quarterly  dues. 

Short   Story 

"Merry  Christmas  in  Hollywood" 
Once  there  was  a  beautiful  but  poor 
actress  in  Hollywood  who  wanted  a 
fur  coat.  So  she  worked  and  saved. 
Finally  came  the  day  when  her  pass 
book  showed  the  necessary  amount, 
and  the  brave  little  actress  went  down 
to  the  bank  to  get  her  money.  Alas, 
there  was  a  piece  of  paper  pasted  on 
the  closed  door  of  the  bank.  Mr. 
Beesemyer  also  wanted  a  fur  coat 
for  Christmas. 

THE    END. 


Prague  Players  Cooperate 

According  to  the  European  press  a 
group  of  Czechoslovakian  film  work- 
ers has  founded  in  Prague  a  motion 
picture  cooperative  society  called 
"Cefid."  Among  its  members  are 
Charles  Lamac,  Anny  Ondra,  Ota 
Heller,  V.  Wassermann,  K.  Hasler, 
Mac  Fric,  Suzanne  Marwhille  and 
many  other  Czech  players  and  direc- 
tors. 

The  chief  aim  of  this  society  is  to 
organize  systematic  production  of 
Czech  talking  pictures  and  to  demand 
financial  and  moral  support  of  the 
Czechoslovak  Government  in  order 
that  a  new  sound  studio  may  be 
erected  in  Prague. 


February,  1D.J1  The    INTERNATIONAL    PHOTOGRAPHER  Nine 


a  studio  word  for 
modern  lighting 
equipment! 

Picture  production  today  demands  equip- 
ment in  which  are  incorporated  the  require- 
ments of  modern  production.  These  factors, 
along  with  countless  individual  features,  are 
expressed  in  j£&cc  incandescent  lighting 
products. 

To  employ  ^Z&ce^ZTt&z  is  to  realize  the  last 
word  in  modern  studio  lighting  efficiency — 
and  proven  low  cost  of  operation,  of  course, 
is  offered  as  a  dominant  feature. 


(  t 


If  it's  not  a  ~£kz  it's  not  silent!' 


LAKIN  CORPORATION 

1707  Naud  Street         Los  Angeles,  California         CApitol  5387 


I  icrlrc 


The    INTERNATIONAL    PHOTOGRAPHER 


February,   1931 


Teamwork  and  Cameramen 


THE  artist  for  Foreign  Serv- 
ice V.  F.  W.  for  January 
who  conceived  and  executed 
so  excellent  a  thought  over  the 
caption  of  "Teamwork"  had  a 
large  subject  for  his  sermon. 

For  cameramen,  too,  have 
learned  in  the  years  that  it  is 
impossible  to  defeat  the  objec- 
tives of  a  teamwork  translatable 
into  terms  of  intelligent  direc- 
tion or  leadership  and  enthus- 
iastic and  unanimous  member- 
ship; that  such  teamwork  is  in- 
vincible. 

Cameramen  have  learned  that 
teamwork  is  an  empty  word 
when  it  signifies  to  any  one  in 
their  ranks  nothing  more  than 
half-hearted  support  of  a  guild 
the  formation  of  which  in  his 
own  view  was  not  indicated  by 
his  apparent  welfare  or  that  of 
his  confreres. 


/CAMERAMEN  have  learned 
^*  that  teamwork  is  a  vital, 
pulsing  word  when  it  makes 
vocal  in  name  and  in  fact  the 
unification  of  all  the  individuals 
of  a  craft,  lesser  as  well  as 
greater,  younger  as  well  as  older, 
moderately  as  well  as  more 
highly  endowed;  when  it  means 
a  solid  front  and  backed  by  a 
solid  square  of  men  animated  by 
a  single  purpose: 

The  welfare  of  a  craft  in  its 
entirety. 


/CAMERAMEN  have  learned 
^^  that  as  the  guilds  of  the 
Middle  Ages   were   the   first   to 


OK     /fir** 


Teatn  toork, 


bring  democracy  into  a  world 
dominated  by  a  feudal  system 
intrenched  through  ages  of  dis- 
regard for  the  least  of  the  indi- 
cated rights  of  mankind — that 
even  in  instances  the  guilds  com- 
pelled recognition  on  an  equality 
with  the  hitherto  all-powerful 
nobles — so  their  own  guild  of  to- 
day is  a  democracy  in  itself ;  that 
as  that  guild  progresses  so,  too, 
will  they  as  individuals  and  like- 
wise their  successors  in  coming 
generations  progress. 


AS  THE  comparatively  new 
art  of  photography  repro- 
duces in  actuality  the  "form  and 
pressure"  of  the  age  while  lan- 
guage at  best  only  can  aim  to 
create  a  picture  that  is  mental 
so  photography  in  the  years  to 
come  by  reason  of  its  undisputed 
fidelity  to  things  as  they  are 
gradually  will  compel  printing  to 
yield  to  it  an  equal  or  perhaps 


the  major  place  in  any  position 
it  may  claim  to  possess  as  "the 
art  preservative  of  all  arts." 


TN  THE  development  of  pho- 
-*-  tography  motion  picture  and 
still  cameramen  have  had  great 
opportunities,  such  as  are  bound 
to  fall  to  pioneers.  The  progress 
of  photography  as  an  art  in  the 
future  will  lean  more  heavily  on 
the  membership  of  the  photo- 
graphic guilds  than  will  be  pos- 
sible in  the  case  of  the  detached 
individual. 

For  history — the  history  of 
the  Middle  Ages — will  repeat  it- 
self. The  great  camera  artists 
of  the  guilds  of  today  through 
their  apprentices  and  associates 
will  lay  the  foundations  for  a 
continuing  and  cumulative  tech- 
nique that  will  be  handed  down 
from  one  generation  to  another. 


'  I  ''HAT  their  infinite  patience 
-*  both  in  field  and  laboratory 
will  result  in  the  monetary  en- 
richment of  a  comparative  few 
is  a  matter  of  minor  conse- 
quence. 

The  large  fact  will  be  they  are 
creating  a  background  of  tradi- 
tion for  an  important  art.  Also 
and  by  no  means  unimportantly 
they  will  be  contributing  to  the 
entertainment  and  edification  of 
the  world  of  today — and  through 
the  governmental  establishment 
of  libraries  for  photographic 
subjects  of  historic  or  cultural 
interest  to  the  education  of  the 
world  of  tomorrow. 


^'oA 


"OOR^ 


Gream  o th Stills 


**Wo*. 


Street  scene  in  Taxco,  Guerrero,  Mexico.  Taxco  is  one  of  the  first  spots  in  the  western  world  to  be  touched 
by  European  civilization,  having  been  founded  in  1522,  but  thirty  years  after  Columbus  reached  these  shore*. 
Roberto  A.   Turnbull,    the   photographer,  adds   the  first  silver  sent  from,  Mexico  to  Spain  was  mined  in  this 

village  by  its  fou  nder,  La  Borde. 


!»5^. 


'°grn* 


@ream  oth $tills 


,*^?<fc. 


boRN^ 


/£'s  a  /owfif  drop  to 
the  Antarctic  region 
where  Joe  Rucker, 
one  of  the  camera- 
men  with   the   By  id 
expedition,    photo- 
graphs a  dog  team 
setting  out   from 
Little   America    to 
establish  an  emer- 
gency airplane  camp 
400  miles  above  the 
south  vole. 


Here  is  a  contrast 
supplied    by    Gordon 
Avil  as  he  lays  his 
Camera  across  the 
hazy  Bay  of  Tunis, 
at  almost  the  north- 
ern tip  of  Africa. 


♦SATyo,. 


Qream  a th Stills 


C**?L'°JL 


Hugging  the  equator- 
Lewis  Physioc  gives 
us    this    'peaceful 
view   of   the  Kuan- 
tan  River  in  Pa- 
hang,  Malay  States. 


Here's  a  real  thrill 
for  a  real  Irishman 
— and  also  for  many 
who  are  not.    It  is 
the  Colleen  Bawn 
Rock  in  the  Lakes 
of  Kdllarney,  Ire- 
land, photographed 
twenty  years  ago 
by  George  Hollister 
when  on- location 
with  the  Kalem 
company,  the  first 
international   troop. 


tf^l'Os. 


Qream  oth^tills 


cfWo*. 


a 


0P 


While  crossing  the  Gulf  of  Corinth  in  Grecian   waters  in  1919  with  an  American  army  detail  conveying  am- 
bulances  to  Salonika  Paul  Ivano   was  attracted  by  the  scene — and  no  wonder. 


ft 


Photography  by 


jj 


WHEN  those  words  at  the  beginning 
of  a  picture  mean  you,  you  are  justly 
proud — provided  your  artistry  has 
been  fully  recorded  by  your  film.  Con- 
trol the  film  factor  with  Eastman  Pan- 
chromatic Negative,  Type  2.  Try  it  in 
your  next  picture.  Get  accustomed  to 
it.  Then  you  will  use  it  exclusively, 
for  it  brings  you  the  finest  combina- 
tion of  film  qualities  ever  placed  at  the 
disposal  of  the  cameraman. 

EASTMAN  KODAK  COMPANY 

ROCHESTER,  NEW  YORK 

J.  E.  Brulatour,  Inc.,  Distributors 

New  York  Chicago  Hollywood 


Fourteen 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  1931 


Recording  Improvements  Require 

Higher  Standards  Down  the  Line 


NOISELESS  recording  is  sound- 
ing the  death  knell  of  slipshod 
talking  picture  producing  and 
processing,  according  to  H.  B'.  Santee, 
Electrical  Research  Products'  director 
of  commercial  engineering,  who  has 
just  returned  to  New  York  from  a 
survey  of  the  Hollywood  studios  using 
Western  Electric. 

Practically  all  of  them  have  in- 
stalled or  are  installing  equipment 
for  noiseless  recording.  They  are 
unanimous  in  agreeing  that  this 
recording  marks  the  greatest  mile- 
stone in  talking  picture  progress  sine 3 
sound  itself  was  introduced.  They 
agree  that  the  new  recording  will 
necessitate  a  more  rigid  adherence  to 
standards  in  production  recording  and 
in  processing. 

"The  difference  is  that  under  the 
old  recording  methods  a  certain 
amount  of  deviation  was  permissible 
from  these  standards,"  Santee  ex- 
plained, "because  any  slight  imper- 
fections in  the  noises  were  masked  by 
the  ground  noises  themselves.  Now 
with  the  ground  noises  eliminated  by 
the  noiseless  recording,  the  other  im- 
perfections will  be  painfully  obvious. 
The  only  alternative  is  going  to  be  an 
insistence  upon  a  standard  of  record- 
ing and  processing  that  does  away 
with  them. 

Standard    Unchanged 

"We  want  to  make  it  clear  that  the 
standard  itself  is  unchanged.  What 
was  best  under  the  old  system  of 
recording  is  still  best  and  has  been 
retained.  What  is  being  changed  is 
the  greater  need  for  adherence  to  this 


standard  to  bring  out  the  superior  ad- 
vantages of  noiseless  recording. 

"It  is  in  this  general  policy  of 
exacting  more  rigid  standards  all 
around,  as  well  as  in  the  direct  tech- 
nical improvements,  that  noiseless 
recording  is  proving  itself  such  an  un- 
precedented benefit  to  the  industry. 
The  improvement  applies  not  only  to 
the  studio  and  the  film  laboratory  but 
also  to  the  theatres,  where  a  more 
rigid  inspection  and  maintenance  of 
reproducing  equipment  will  be  essen- 
tial. 

"The  producers  with  whom  I  talked 
all  felt  that  this  'tightening  up'  would 
react  to  the  general  benefit  of  every 
one  in  the  industry.  They  stressed 
that  with  a  better  quality  of  record- 
ing and  reproducing  better  talking 
pictures  could  be  seen  and  heard  in 
theatres,  old  fans  would  be  held  and 
new  ones  would  be  created  for  the 
general  profit  of  the  people  in  the 
talking  picture  field." 


Censors  Pass  Five  a  Day 

The  report  of  the  British  Board  of 
Film  Censors  indicates  that  during 
the  month  ended  November  30  last 
there  were  148  films  submitted  and 
passed  by  the  board  during  that  time, 
according  to  Trade  Commissioner 
Martin  H.  Kennedy,  London.  Of  this 
number  there  were  59  new  feature 
films  (3,000  feet  or  over)  submitted, 
40  of  which  were  sound  synchronized 
while  13  were  silent. 

Included  in  this  number  are  also 
89  short  films,  25  of  which  were  silent, 
while  64  were  sound  synchronized. 


The  Girl  Knows  Now  You 
Can't   Stop   a  News   Man 
When  His  Mind  is  "Sot" 

OM  ONE  of  the  twelve  festive  days 
on  which  the  American  members 
of  the  commission  to  Samoa  were 
entertained  by  the  islanders  one  of 
the  local  belles  had  been  photographed 
in  company  with  several  of  the  Ameri- 
can dignitaries — and  her  well-crowned 
head  had  been  expanded  accordingly. 

Not  to  be  outpointed  by  any  com- 
mon ordinary  United  States  Senator 
the  official  photographer  of  the  com- 
mission, Merl  La  Voy  of  Pathe  News, 
handed  a  still  camera  to  a  friendly 
sailor,  with  instructions  to  snap  him 
"when  I  get  that  jane  by  the  hand." 

In  an  unguarded  moment — on  the 
part  of  the  aforesaid  belle — the 
camerman  grabbed  the  girl  by  the 
hand.  She  sensed  what  was  coming. 
Instantly  her  gorge  rose.  You  will 
note  it  in  the  expression  on  her  face. 
Such  humiliation,  to  be  photographed 
in  company  with  a  cameraman  after 
having  stood  alongside  United  States 
Senators! 

The  friendly  sailor  got  his  cue.  In 
most  craftsmanlike  manner  he  per- 
formed his  whole  duty. 

You  recall  that  old  wheeze  about 
the  gleam  of  triumph  that  shone  on 
the  face  of  the  tiger  following  his 
brief  controversy  with  the  canary? 
You  will  find  its  counterpart  in  the 
features  of  La  Voy. 


At  royal  moose  hunt  in  Sweden — Baron  Bonde,  Spanish  Minister,  at  fence  be- 
hind camera;  King  Christian  of  Denmark  against  fence,  Prince  Karl,  brother1 
of  Swedish  king,  at  right;  Fernstrom  at  camera. 


Swedish  Sound  Producer 

Installs  in  60  Theatres 

I.N  Stockholm  the  Aktiebolaget 
Svensk  Filmindustri,  the  foremost 
film  producer  and  exhibitor  in 
Sweden,  has  opened  two  new  theatres, 
one  in  Stockholm  and  one  in  Jonko- 
ping.  according  to  a  report  received 
in  Washington  from  Commercial  At- 
tache T.  O.  Klath  of  Stockholm, 
Sweden.  The  introduction  of  the 
sound  films  has  forced  the  company 
to  change  its  policy  quite  consider- 
ably. 

The  production  of  Swedish  pictures 
has  necessarily  been  increased,  and 
the  activities  of  the  company  have 
been  concentrated  on  producing  Swed- 
ish talking  pictures. 

The  company  has  spent  considerable 
money  for  equipping  about  sixty  of 
its  theatres  with  sound  reproducing 
apparatus. 


February,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Fifteen 


Royal  Families  News  Material 


Susceptible  to  Lure  of  Camera  Just  Like  Other 

Humans,  Says  Weekly  Cameraman  Who 

Finds  Them  Good  Fellows 

By  RAY  FERNSTROM 


WE  AMERICANS  have  long  ad- 
mired the  democracy  of  those 
few  remaining  monarchs  of  the 
world.  True,  they  do  not  have  the 
mighty  grip  of  past  rulers,  but  yet 
they  reign  and  are  happy.  Several 
times  have  we  read  of  kings  ready  to 
become  presidents  or  renounce  their 
thrones  if  their  people  wished,  but  in 
the  end  reigned  on. 

This  writer  has  had  the  pleasant 
privilege  of  mingling  informally  with 
a  few  of  these  kings  and  princes. 
But  then,  newsreel  photographers  do 
enjoy  a  number  of  privileges  in  cover- 
ing their  assignments  that  few  have. 
During  my  two  years  in  EuroDe  the 
royal  families  of  Sweden,  Denmark 
and  Norway  struck  me  as  real  news 
material,  for  they  not  only  ruled  their 
countries  in  the  old  way  but  were 
ardent  sportsmen  and  reported  to  be 
quite  democratic. 

One  day  in  Stockholm  I  read  of  the 
forthcoming  royal  moose  hunt.  King 
Gustaf  of  Sweden  had  invited  King 
Christian  of  Denmark  to  accompany 
him  to  the  province  of  Vermland  for 
a  three-day  hunt.  Here  was  a  pic- 
ture. 

Without  any  previous  arrangements 
I  hopped  the  train  for  Vermland  for 
the  first  day's  meet,  trusting  to  luck 
for  a  picture.  The  next  morning 
found  me  set  up  and  smoking  near 
the  two  royal  private  cars  in  a  rail- 
road siding. 

A  special  gravel  path  had  been  laid 
beside  the  track,  flowers  transplanted 
and  a  little  white  fence  erected. 

As  I  stood  there  alone,  a  tall  man 
in  a  felt  hat  and  gray  short  coat  came 


out  of  the  Swedish  car  and  sauntered 
slowly  toward  me. 

We  chatted  for  a  while  in  Swedish 
until  he  noticed  the  name  of  the  com- 
pany I  represented,  when  he  switched 
to  perfect  English.  His  interest 
heightened,  he  asked  if  I  were  Ameri- 
can, which  I  affirmed. 

"But  you  speak   Swedish?" 

"Yes,  my  father  and  mother  were 
Swedish  and  had  taught  it  to  me  at 
home  in  the   States." 

"Are  you  coming  with  us  to  the 
hunt?"  he   asked. 

"Yes,  if  I  can  get  the  king's  per- 
mission." 

"We  should  be  pleased  to  have  you," 
he  replied,  smiling,  with  eyes  twin- 
kling behind  his  spectacles. 

It  was  the  Swedish  King.  My  heart 
sank.  Here  I'd  been  talking  to  a 
king  and  hadn't  recognized  him  in  his 
hunting  suit. 

Just  then  another  tall,  dark  man 
joined  us,  and  I  was  introduced  to 
him,  King  Christian  of  Denmark. 
They  looked  more  like  a  couple  of  tall 
young  college  men  on  a  vacation  than 
real  in-the-flesh  monarchs. 

After  a  busy  morning  of  hunting 
and  shooting  pictures  we  ate  luncheon 
at  a  little  farmhouse  that  had  been 
honored  to  feed  the  royal  party.  With 
luncheon  past,  King  Gustaf  ordered 
his  party  together  so  I  could  shoot 
the  group  and  make  closeups. 

As  I  "moved  in"  for  a  close  one 
of  King  Christian  he  asked  how  he 
should  act  before  the  camera,  since 
as  I  explained  millions  in  America 
would  see  him.  "Just  take  off  your 
hat   in   a   greeting." 


This  he  did  and  smiled  broadly, 
his  black  mustache  bristling.  In  every 
scene  from  then  on  he  took  off  his  hat 
and   bowed  most  cordially. 

From  that  day  on,  every  time  the 
king  of  Sweden  appeared  in  my  news 
pictures  he  would  smile  and  salute  as 
we  both  undoubtedly  thought  of  the 
King  of  Denmark  on  that  hunt  in 
Vermland. 

Prior  to  their  American  trip  the 
Swedish  crown  prince  and  princess 
took  a  trip  through  the  provinces. 
It  was  my  privilege  to  go  along  with 
the  old  camera. 

The  crown  prince  is  equally  as 
democratic  as  the  king,  but  gives  one 
the  impression  of  a  real  business  man, 
and  he  is.  As  tall  as  his  father  but 
not  quite  as  thin,  he  wears  spectacles 
and  speaks  perfect  English  and  has 
a  great  interest  in  the  United  States. 

While  on  this  trip  I  wanted  a  still 
picture  made  of  the  crown  prince 
cranking  my  camera  as  I  stood  along- 
side. The  still  man  with  us  agreed, 
and  I  waited  for  the  chance,  caution- 
ing the  still  man  to  watch,  too. 

One  morning  the  prince  came  out 
to  wait  for  the  crown  princess,  who 
had  gone  for  a  walk  with  her  ladies 
in  waiting. 

Here  was  our  chance.  The  prince 
came  over,  and  displaying  an  interest 
in  the  camera  I  started  to  show  it 
to  him.  The  still  man  watched.  Just 
then  the  crown  nrincess  returned. 

"Let  me  make  a  movie  of  my  wife," 
the  prince  asked  hurriedly. 

"Certainly,  go  ahead,"  I  hastened 
to  answer. 

What  a  still !  The  crown  prince 
making  movies  of  the  crown  princess. 

"Did  you  get  her  in  it,  too?"  I 
asked  the  still  man. 

"No,  I  thought  you  only  wanted 
the  two  of  you." 

Uh !  What  a  break,  for  the  crown 
princess  was  terribly  camera  shy. 


Late  Queen  Victoria  and  King  Gustaf  of  Sivedeyi  as  they 
appeared  on  visit  to  Island  of  Gottland 


On  moose  hunt  in  Vermland,  Sweden,  left  to  right  in  front 
— King  Christian,  King  Gustaf  and  Prince  William 


Sixteen 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  1931 


Theatre  Installation  Costs  to  Gain 
Rather  Than  Decrease,  Says  Erpi 


THERE  is  no  prospect  of  lower 
prices  for  sound  picture  equip- 
ment, according  to  C.  W.  Bunn, 
sales  manager  of  Electrical  Research 
Products  Inc.  "I  am  sometimes  asked 
by  exhibitors  when  the  prices  of  re- 
able  sound  apparatus  for  theatres 
are  going  to  come  down,"  said  Bunn. 
"My  answer  is  that,  so  far  as  our 
company  is  concerned,  there  is  no 
prospect  of  any  reduction.  Believing 
as  we  do  that  the  future  of  the  sound 
picture  depends  upon  a  high  standard 


of  quality,  the  resources  of  our  com- 
pany are  being  principally  devoted  to 
maintaining  and  improving  that  qual- 
ity. 

"The  public  is  simply  not  willing  to 
stand  for  poor  sound,  and  if  more 
people  are  to  be  attracted  to  theatres 
a  lot  of  theatres  which  are  now  giv- 
ing indifferent  reproduction  have  got 
to  improve  it,  and  theatres  which 
have  not  yet  bought  might  just  as 
well  not  buy  if  the  price  consideration 
is  to  be  foremost. 


jXA 


now-  the  outstanding  development 
in  set  lighting 

INTEGRAL 
INKIES 

Actually  the  most  efficient 
lighting  unit  ever  conceived 
and  produced  »  »  »  the  new 
Integral  Inkie. 

Until  now,  noiseless  recording 
and  reduction  of  background 
noise  has  been  the  industry's 
major  problem.  However,  the 
new  Integral  Inkie  absolutely 
eliminates  all  cracking  and 
popping  sounds. 

Here  is  the  ultimate  »  » the  out- 
standing development  for  mod- 
ern incandescent  set  lighting. 

MOLE-RICHARDSON,  INC. 

941      North     Sycamore    Avenue 
Hollywood     ♦     ♦     ♦     California 


"As  evidence  that  it  is  impossible 
to  try  and  manufacture  adequate 
equipment  to  meet  a  price  basis  it  is 
only  necessary  to  point  to  the  records. 
Over  116  manufacturers  have  gone 
out  of  business  trying  to  manufacture 
en  a  policy  of  cheap  prices  with  no 
service. 

Projection  Must   Improve 

"Such  reductions  in  price  as  our 
company  was  able  to  put  into  effect 
in  1929  and  1930  came  about  as  a  re- 
sult of  economies  in  large  scale  manu- 
facture and  the  fact  that  the  wide- 
spread installations  of  our  equipment 
throughout  the  country  enabled  us  to 
service  them  at  a  lower  cost  per 
theatre. 

"Lower  costs  to  be  expected  from 
simplified  design  are  not  in  the  pic- 
ture at  present  because  the  tendency 
in  the  studios  as  a  result  of  the  in- 
troduction of  noiseless  recording  is  to 
make  pictures  even  better  than  be- 
fore, and  this  throws  even  greater 
responsibility  on  the  projecting  ap- 
paratus in  the  theatre  to  reproduce 
such  pictures  up  to  the  same  stand- 
ard. 

"Our  service  organization  right 
now  is  tuning  up  Western  Electric 
installations  in  theatres  all  over  the 
country  so  that  they  will  be  able  to 
do  justice  to  these  new  pictures  as 
they  come  from  the  studios,  and  the 
problem  for  the  exhibitors,  therefore, 
as  I  see  it,  is  to  set  their  minds  to 
giving  their  patrons  the  best  and  not 
waste  time  waiting  for  bargain  prices 
on  equipment. 

"It  is  natural  for  exhibitors  to  want 
to  buy  at  the  lowest  possible  price, 
but  many  of  them  who  are  now  await- 
ing lower  figures  lose  sight  of  the  fact 
that,  since  the  introduction  of  sound, 
prices  have  been  reduced  to  a  point 
where  reliable  equipment  can  now  bi' 
bought  for  less  than  the  average 
theatre  used  to  pay  for  suitable  musi- 
cal accompaniment  for  its  silent  pic- 
tures. 

"Our  own  company's  policy  has 
been  to  make  only  a  reasonable  profit 
over  and  above  our  costs.  Prices  will 
not  be  reduced  simply  to  meet  com- 
petition. Indeed,  looking  ahead  to 
1931,  it  seems  to  me  that  if  we  are  to 
maintain  a  fair  margin  of  profit  this 
year,  the  trend  of  prices  on  theatre 
equipment  capable  of  providing  the 
new  standards  of  reproduction  is 
more  likely  to  be  upward  than  down- 
ward." 


Engineers  Getting  Ready 

The  spring  meeting  of  the  Society 
of  Motion  Picture  Engineers  will  be 
held  in  Hollywood  May  25  to  28,  ac- 
cording to  announcement  by  W.  C. 
Kunzmann  following  a  recent  meet- 
ing of  the  board  of  governors. 

O.  M.  Glunt,  Chairman  of  the  pa- 
pers committee,  already  has  begun 
work  in  securing  representative 
speakers  and  papers  for  the  meeting. 

The  last  meeting  to  be  held  in 
Hollywood  was  in  the  Spring  of  1928. 
With  so  many  new  developments 
brought  about  by  sound  in  the  studios 
since  then  the  coming  convention  is 
expected  to  be  of  great  interest  and 
value  to  the  members  of  the  society. 


February,   1941 


The    INTERNATIONAL    PHOTOGRAPHER 


Seventeen 


Long  List  of  European  Magazines 
Devoted  to  Interests  of  Film  Men 


THE  following-  list  of  film  maga- 
zines in  Europe,  compiled  from 
data  furnished  by  the  foreign 
office  of  the  United  States  Depart- 
ment of  Commerce,  covers  only  maga- 
zines dealing  exclusively  or  predomi- 
nantly with  motion  pictures  and  in- 
cludes both  fan  and  trade  magazines. 
While  the  motion  picture  division  can- 
not guarantee  that  this  compilation  is 
complete  every  attempt  has  been  made 
to  make  it  as  accurate  and  up-to-date 
as  possible.  No  responsibility  can  be 
assumed  for  the  character  or  financial 
standing  of  any  of  these  publications, 
states  the  bureau. 

Europe 

United  Kingdom — Bioscope,  Fara- 
day House,  8  Charing  Cross  Road, 
London.    Weekly. 

Boy's  Cinema  Amalgamated  Press, 
Ltd.,  Fleetway  House,  Farrington 
street,  London.     Weekly. 

Cinema  News  and  Property  Ga- 
zette, 80  Wardour  street,  London. 
Daily. 

Cinematograph  Times,  Cinemato- 
graph Exhibition  Association  of  Great 
Britain,  Broadmead  House,  Panton 
street,  London.     Weekly. 

Daily  Film  Renter  and  Moving 
Picture  News,  Pictures  and  Pleasures, 
Ltd.,  58  Great  Marlborough  street, 
London.      Daily. 

Film  Review,  W.  G.  Faulkner  &  Co., 
Ltd.,  72  Oxford  street,  London. 
Weekly. 

Kinematograph  Weekly,  Oldham's 
Press,  Ltd.  85  Long  Acre,  London. 
Weekly. 

Today's  Cinema,  80  Wardour  street, 
London.     Daily. 

France  —  Cinematographic  Fran- 
caise,  19  Rue  de  la  Cour-des-Noues, 
Paris.   Weekly. 

Courrier  Cinematographique,  28 
Boulevard   St.   Denis,   Paris.   Weekly. 

Comoedia,  51  Rue  St.  Georges, 
Paris.     Daily. 

Cine-Export  Journal,  66  Rue  Cau- 
martin,  Paris.     Monthly. 

L'Ecran,  17  Rue  Etienne  Marcel, 
Paris.    Weekly. 

La  Semaine  Cinematographique,  48 
Boulevard  Beaumarchais,  Paris. 
Weekly. 

Bulletin  de  la  Chambre  Syndicale 
Francaise  de  la  Cinematographic,  13 
bis,  Rue  des  Mathurins,  Paris.  Month- 
ly. 

Germany — Film  Kurier  (official 
organ  of  German  Exhibitors'  Asso- 
ciation) Kothenerstr,  37,  Berlin, 
Daily. 

Der  Film,  Ritterstr,  71,  Berlin 
S.W.  68. 

Kinematograph  Verlag  Aug  Scherl, 
Ximmerstr,  35/'41,  Berlin.  Daily  and 
Weekly. 

Lichtibildbuhne,  Friedrichstr  225, 
Berlin.     Daily  and  Weekly. 

Reichsfilmblatt,  Stallschreiberstr, 
34,  Berlin,  S.  14. 

Suddettsche  Filmzeitung,  Pesta- 
lozzistrasse  1,  Munich.   Weekly. 


Film   Magazine,   Berlin.     Weekly. 

Italy — I  Cinema  Italiano,  Via  Pa- 
lermo 8,  Rome.     Periodical. 

L'Eco  del  Cinema,  Via  S.  Antonio 
8,  Florence.     Monthly. 

II  Cinematografo,  Via  Lazio  9, 
Rome.      Fortnightly. 

Cine  Mondo,  Via  Principe  Oddone, 
20,  Turin.    Fortnightly. 

La  Rivista  Cinematografica,  Via 
Ospedale   4   bix,   Turin.      Fortnightly. 

Kines,  Via  Aurelians  39,  Rome. 
Weekly. 

La  Cinematografia,  Via  S.  Maurilio 
20,   Milan.     Periodical. 

La  Vita  Cinematografica,  Via  Pio 
Quinto  17,  Turin.     Monthly. 

II  Corriere  Cinematografico,  Via 
Pio   Quinto,   Turin.     Weekly. 

Cinema  Teatro,  Via  in  Arcione  71, 
Rome. 

Cine  Giornale,  Via  Sorgente  5, 
Trieste.      Periodical. 

Piccolo,   Bari.     Weekly. 

Kinema,  Via  Fratelli  Bronzetti  1, 
Milan.     Weekly. 

L'Arte  del  Cinema,  Via  Alessan- 
drini  20,  Bologna.     Weekly. 

Belgium — Cinema,  16  Courte  Rue  de 
1'  Hospital.     Antwerp. 

Film  Revue,  16,  Courte  Rue  de  1' 
Hospital,  Antwerp.     Weekly. 

Spectacles  de  la  Scene  de  l'Ecran 
et  de  la  Vie,  19,  Rue  de  Pepin,  Brus- 
sels.    Weekly. 

Revue  Beige  du  Cinema,  64,  Boule- 
vard Emile  Jacqmaine,  Brussels. 
Weekly. 

Cinema,  34  Rue  du  Marche  aux 
Poulets,  Brussels.    Weekly. 

Culletin  de  1'  Association  Cinemat- 
ographique de  Belgique,  109  Rue 
Verte,   Brussels.     Monthly. 


Bulletin  de  la  Federation  Beige 
Cinematographique,  10,  Place  Rogier, 
Brussels.      Fortnightly. 

Netherlands — Nieuw  Weekblad  voor 
de  Cinematografie,  Nieuwe  Mostraat 
24,  The  Hague.  Weekly.  (Leading- 
trade  magazine). 

Kunst  en  Amusement  Douzastraat 
1,  Lekden. 

Cinema  en  Theatre  Douzastraat  1, 
Leiden. 

Czechoslovakia  —  Filmov  Oficielni 
Organ  Svazu  Filmoveho  Obchodu  a 
Prumyslu,  31  Vodiochova  ul.,  Prague 
II. 

Zpravodaj  Zemsheko  Svzu  Kinoma- 
jitelu  v  Cechach,  Palac  Feniz,  Vac- 
lavske  nam,  Prague  II.     Monthly. 

Studio,  6  Purkynova  ul.  Prague  II. 
Monthly. 

Internationale  Filmschau,  Palac 
Lucerna,  Vodickova  ul.  Prague  II. 
Monthly. 

Lichtspeilbuehne,  11  Teichgasse, 
Usti  n.l.    Monthly. 

Filmovy  Kuryr,  Palac  Olmpic  Spa- 
lena  ulice,  Prague  II.  Weekly. 

Cesky  Filmovy  Epravodaj  Mace- 
skuv  Palac,  Fochova  tr.,  Prague  XII. 
Weekly. 

Austria  —  Kas  Kinojournal,  Neu- 
baugasse   25,   Vienna   VII. 

Mein  Film,  Canisiusgasse  8,  Vienna 
VII. 

Oesterr,  Rilmzeitung,  Neubaugasse 
36,  Vienna  VII. 

Switzerland — Cinema  Suisse,  organ 
of  Swiss  film  renters,  rue  du  Theatre, 
Montreaux.    Bimonthly. 

Spain — La  Pantalla,  Passeo  de  San 
Vicente  20,  Madrid. 

Arte  y  Cinematografia,  Aragon  235, 
Barcelona. 

Biblioteca  Films,  Valencia  234,  Bar- 
celona. 

El  Cine  Seneca   9   y   11,   Barcelona. 

El  Mundo  Cinematografia,  Valencia 
200,    Barcelona. 


DUNNING 

Process  Company 

A    few   current    releases    containing    Dunning    Shots 


"What  a   Widow"  —  Gloria 

Swanson 
"On  the  Level" — Fox 
"Lonely  Wives" — Pathe 
"Her  Man" — Pathe 
"Romance" — M-G-M 
"Holiday"— Pathe 
"The    Lottery    Bride" —  United 

Artists 


"Feet  First" — Harold   Lloyd 

"Beau   Ideal"— R-K-O 

"Dirigible" — Columbia 

"Assorted   Nuts"— R-K-O 

"East  Lynne" — Fox 

"Millie"  —  Charles  Rogers 
Prods. 

"See  America  Thirst"  —  Uni- 
versal 

"Discontent" — James   Cruze 


"You   Shoot  Today — Screen  Tomorrow" 
932  No.  La  Brea  Ave  GL  3959  Hollywood,  Calif. 


Eighteen 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  1931 


Commerce   Department   Is 

Seeking  Data  Regarding 

Use  of  Business  Films 

'~r~^0  what  extent  the  American 
motion  picture  has  "gone  into 
business"  as  an  aid  in  promoting 
operating  efficiency  and  the  degree  of 
success  attending  the  use  of  such 
methods  by  industry  form  the  subject 
of  a  special  study  now  being  made  by 
the  Motion  Picture  Division  of  the 
Bureau  of  Foreign  and  Domestic 
Commerce. 

At  least  2,000  concerns  in  the 
United  States,  it  is  known,  have  used 
the  motion  picture  for  some  business 
purpose.       In    other    cases    the    ends 


sought  are  creation  of  good  will 
through  illustration  of  the  firm's 
products  or  services.  Safety  and  effi- 
ciency of  plant  operation  are  being 
promoted  and  better  personnel  rela- 
tions secured  by  many  firms  through 
exhibition  of  educational  films  within 
the  organization  itself. 

The  Commerce  Department  through 
a  questionnaire  addressed  to  these 
2,000  concerns  is  seeking  to  determine 
how  extensively  the  films  are  being 
employed  for  these  various  purposes 
and  how  efficient  in  point  of  results 
they  are  found  to  be. 

With  regard  to  the  public  use  of 
business  movies  in  particular  the  com- 
merce    Department    wants    to     know 


The  <5E£o 


"TRADE  MARK 


MUTE 


Six  months  of  trial,  tribulations  and  tests,  under  the  best 
and  worst  conditions,  sound  stages  and  locations,  fair  weather 
and  rain  .  .  . 

And  the  Baby  Sun  Arc  operated  1  00  per  cent  efficiency, 
1  00  per  cent  of  the  time,  and  never  made  a  SQUAWK. 

This  is  a  SILENT  arc,  as  its  name,  the  Mute,  implies — 
not  just  quiet,  but  SILENT.  Designed  and  built  on  scientific 
lines  throughout. 

Comparative  tests  have  proven  the  high  efficiency  of  its 
light  value.  Light  in  weight,  compact,  low  current  and  carbon 
costs,  are  features  to  be  considered. 

And  COOL  ...  get  this  feature  of  the  Mute.  A  Cool 
lamp  house  with  a  Hot  light.  Scientific  ventilation  permits 
this. 

This  lamp  is  certainly  the  answer  to  the  sound  man's 
prayer. 

In  addition  to  our  general  rentals  of  incandescent  and 
arc  lamps,  generator  sets  and  wind  machines,  cable,  etc.,  we 
are  now  in  a  position  to  do  general  machine  work,  designing 
and  building  of  special  machinery,  tools,  jigs,  gear  cutting, 
screw,  machine  and  turret  lathe  work.  See  Frank  Merritt 
for  estimates. 

Creco,  Incorporated 

1027   N.   Seward  Street 

Hollywood,    California 

U.  S.  A. 


Day    Phones: 
GL— 4 1 8 1 
GL— 4182 


Nite   Phones: 
Mac  Gibboney — GL.   5284 

Johnny   Neff N.    Holly.    509 

Frank    Merritt OX.    6557 


from  each  firm  the  number  of  persons 
viewing  its  films  in  the  course  of  a 
year  in  schools,  theatres,  trade  meet- 
ings, etc.;  how  difficult  it  is  to  ar- 
range for  showings,  and  the  places 
in  which  the  showings  are  found  to 
be  most  profitable. 

The  planning  and  control  of  motion 
picture  campaigns  for  business  pur- 
poses, technical  problems  of  produc- 
tion and  distribution,  and  methods  of 
measuring  the  efficiency  of  the  use 
of  films  in  the  different  branches  of 
business  are  also  dealt  with  in  the 
Commerce  Department's  question- 
naire. 

What  the  department  finds  out  is 
expected  to  shed  much  light  on  the 
use  and  value  of  motion  pictures  in 
business,  and  help  formulate  plans 
for  the  most  effective  use  of  films. 
The  experience  record  of  past  users 
of  films  in  business  will  be  of  assist- 
ance, it  is  believed,  not  only  in  sug- 
gesting successful  methods  of  pro- 
cedure in  securing  best  results  with 
new  productions,  but  also  in  helping 
to  obtain  a  more  extensive  and  pro- 
ductive use  of  films  which  may  be 
already  in  use.  A  combined  expe- 
rience record  in  this  field  will  also 
offer  a  standard  by  which  the  success 
of  motion  picture  activities  in  general 
may  be  gauged. 

Replies  to  the  Commerce  Depart- 
ment's questionnaire  are  already  be- 
ing received,  and  the  Motion  Picture 
Division  expects  to  have  the  results 
of  the  study  in  form  for  publication 
within  the  next  few  months. 


Use  Four  Projectors  for 

iiHell,s  Angels''''  in  London 

Additional  equipment  has  been  in- 
stalled by  Western  Electric  for  the 
adequate  reproducing  of  "Hell's  An- 
gels" at  the  London  Pavilion,  Lon- 
don, England. 

Four  projectors  are  being  used,  two 
to  project  the  picture  and  two  to  pro- 
ject the  sound  track,  setting  a  prece- 
dent for  sound  picture  projection  hi 
the  British  Isles.  In  addition  to  the 
large  magnascopic  screen,  eight  extra 
ainplifiers,  six  extra  horns  and  29 
extra  amplifier  valves  are  included  in 
the  equipment. 


Projectionists  Honor  Wilcox 

P.  A.  McGuire,  executive  vice  presi- 
dent Projection  Advisory  Council,  an- 
nounces the  election  as  a  life  mem- 
ber of  that  body  of  H.  M.  Wilcox, 
operating  manager  Electrical  Re- 
search Products.  In  accepting  the 
election  Wilcox  expressed  his  appre- 
ciation of  the  co-operation  accorded 
his  company  by  the  projectionists  of 
the  country  in  connection  with  the  in- 
troduction of  sound  talking  picture 
equipment. 


Warners  Install  Booms 

Warner  Brothers'  studio  has  in- 
stalled several  Mole-Richardson  loca- 
tion microphone  booms.  These  are  20 
feet  long,  and  when  extended  the  axis 
is  10  feet  from  the  ground.  The  de- 
vice is  collapsible  and  may  be  packed 
within  a  small  compass  for  journeys 
away   from    the    studio. 


February,  19-11 


The    INTERNATIONAL    PHOTOGRAPHER 


Nineteen 


European  Film  Items  of  Interest 


THE  following  items  have  been 
taken  from  a  report  received 
from  Trade  Commissioner  George 
R.  Canty  of  Paris:  According  to  a 
press  statement  the  extraordinary 
general  meeting  of  the  Establisse- 
ments  Jacques  Haik  of  France  ap- 
proved a  capital  increase  from  seven 
to  fifteen  million  francs.  The  Haik 
studio  in  Courbevoie,  near  Paris,  has 
been  reconstructed  following  a  fire 
some  months  ago  and  shooting  is  now 
under  way. 


A  further  merger  between  firms  in 
the  French  industry  is  reported. 
Omega  Films,  Elite  Films  and  Les 
Films  Celebres  have  united  under  one 
cooperative  banner.  The  group  is 
financed  by  M.  Martinage. 


Herr  Meydam,  a  member  of  the 
board  of  the  German  Ufa  company, 
has  been  appointed  film  distribution 
expert  at  the  Berlin  Chamber  of  Com- 
merce and  Industry. 


The  Catholic  party  of  the  German 
Reichstag  has  introduced  two  amend- 
ments which  if  carried  must  have 
serious  effects  both  on  production  and 
exhibition  of  pictures.  The  first  one 
embodies  a  number  of  regulations  re- 
garding censorship  of  films  and  post- 
ers and  also  demands  decentralization 
of  censorship.     The  other  amendment 


asks  for   stricter   protection   of  juve- 
niles. 


Director  H.  Correll,  after  long  ab- 
sence due  to  illness,  has  returned  to 
Berlin  and  resumed  his  activities  as 
head  of  Ufa  production.  Herr  Hubert 
left  the  Ufa  directorate  at  his  own 
wish  at  the  end  of  1929.  Director 
Wilhelm  Meydam  has  become  a  mem- 
ber of  the  Ufa's  managing  board  and 
will  take  charge  both  of  foreign  and 
home  distribution. 


The  German  Institute  for  Press 
Science,  in  collaboration  with  the  Ber- 
lin Association  of  Theater  Critics,  ha.s 
instituted  a  practical  informatioi: 
course  for  film  paper  editors  and  film 
critics  of  the  lay  and  trade  press. 

It  is  hoped  that  this  course,  which 
will  comprise  both  theoretical  infor- 
mation and  practical  work,  will  prove 
an  effective  help  for  film  reporters  in 
acquiring  the  necessary  experience, 
especially  in  so  far  as  sound  films  are 
concerned. 

The  Hungarian  telephone  manufac- 
turing company  has  demonstrated  in 
Budapest  its  new  sound  film  appara- 
tus. Parts  of  various  sound  films 
originating  from  many  countries  were 
shown  and  excellent  reproduction  was 
attained,  it  is  claimed. 

It  is  hoped  this  new  invention  will 


offer  to  small  cinemas  the  possibilty 
of  going  over  to  sound  films.  The  ap- 
paratus is  equally  well  suited  for  the 
recording  of  sound  on  film  and  sound 
on  disk. 


The  number  of  Hungarian  cinemas 
wired  for  the  reproduction  of  sound 
films  is  reported  to  have  been  112  as 
of  November  15  last.  Of  these  56 
are  in  Budapest,  16  in  the  Budapest 
suburbs  and  40  in  the  provinces. 


The  Children's  Cinema  at  the 
Apollo,  Geneva,  was  inaugurated  re- 
cently at  a  private  assembly  of  local 
teachers  and  child  welfare  workers. 
The  well  known  "cineaste,"  R.  A. 
Porchet,  is  responsible  for  this  initia- 
tive. 

Porchet  made  an  interesting  state- 
ment on  the  possibility  of  national 
production  of  documentary  films  not 
only  to  serve  the  cause  of  the  chil- 
dren's cinema  but  to  replace  the 
much  criticized  advertising  lantern 
slides  and  sometimes  even  the  un- 
satisfactory comic  film  for  the  regular- 
representations.  M.  Porchet's  idea 
has  been  favorably  discussed  by  both 
trade  and  public. 


Sound  for   Shanghai's   Strand 

The  Strand,  in  Shanghai,  a  1200 
seat  house,  is  the  twenty-first  Chinese 
house  to  install  Western  Electric- 
sound.  The  theatre  expects  to  draw 
large  patronage  from  the  hotels  and 
apartment  houses  that  surround  the 
area. 


"The  only  institution  of  its  kind  in  the  world 


^ 


The    members   of   Local    659   I.    A.    T.    S.    E„    and  M.    P.   M.   O.   of  United   States  and   Canada 

individually  unqualifiedly  endorse 

MAX   FACTOR'S   MAKE-UP 


MAX  FACTOR'S  MAKE-UP  STUDIO 


HOLLYWOOD,  CALIFORNIA 


Twenty 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  1931 


0    COUNTRY    of    the 

Western  World  has 
a  more  vivid,  dra- 
matic or  picturesque 
background  than 
Haiti.  Haiti,  with 
penciled  verdure 
fringing  dominant 
heights  and  feet 
laved  by  waters  of 
deepest  lazuli,  is  in- 
deed a  jewel  of  trop- 
ical splendor. 
When  Columbus  sighted  the  island  he  called 
it  "Hispaniola"  (New  Spain),  but  it  was  the 
Carib  Indian,  in  conauest,  who  named  it 
"Haiti"  (Beautiful  Mountain).  The  Frenchman, 
too,  left  his  heritage  in  a  characteristic  sem- 
blance redolent  of  long  ago  Napoleonic  days. 
In  Port  au  Prince,  St.  Marc,  Petite  Riviere 
de  l'Artibonite — cities  steeped  in  French  tra- 
dition, one  yet  sees  chateaux,  colonial  French 
in  their  architectural  settings,  nestling  in  the 
foothills  only  a  short  cry  from  the  ever-en- 
croaching jungle  growth. 

One  chateau  I  recall  with  pleasure  is  the 
"Splendid"  in  Port  au  Prince,  where  I  found 
comfort,  courtesy  and  even  luxury  extended  to 
me  in  a  grandiose  manner  by  its  charming 
hostess.  It  was  indeed  a  rendezvous  for  the 
elite  of  the  Haitian  capital. 

Haitian  Creole,  the  language  of  the  island, 


Haitian  Glories  Vivi 


is  based  on  French  and  enriched  with  Spanish 
and  African,  yet  solely  West  Indian.  It  is 
musical  and  warm  in  its  intonation,  and  the 
Creole  Black,  who  has  a  habit  of  repeating  the 
same  thing  over  and  over,  rolls  it  off  his  tongue 
with   an   elegance    of   movement. 

In  this  Polynesian  atmosphere  one  finds 
arresting  contrasts  to  the  customs  and  speed 
of  our  dynamic  age — it  is  such  contrasts  that 
made  so  interesting  my  adventure  to  this  color- 
ful island  as  I  arrived  a  la  twentieth  century 
Air  Line  Limited. 

Eye-Filling    Panorama 

My  first  impression  of  Haiti  was  an  eye- 
filling  panoramic  wave  of  dark  skinned  hu- 
manity on  its  way — passing  of  semi-nude 
bronze  figures,  straight  as  royal  palms,  sym- 
metrically proportioned,  and  as  graceful  as 
Celeste;  here  is  perfect  fusing  of  movements — 
free  hips  under  humble  raiment;  these  proud 
Haitians  of  weird  African  strain  possess  the 
finest  physique  of  any  race  I  have  yet  to  see, 
resulting,  no  doubt,  from  the  custom  of  carry- 


By  ESS 

Upper  row  (left  to  righ 
Santo  Domingo,  which  h 
topher  Columbus.  Two 
that  guard  the  portal  of 
dral  of  Santo  Domingo 
Haiti,  the  white  toweri 
sight  to  greet  the  eye  j 
the  Cathedral  inclosure, 
Christ — Port  au  Prince, 
Haiti,  "as  I  arrive  a  la 
Lower  row — In  this  Ch 
stricken  with  paralysis; 
Souci  Palace  at  Milot. 
Sans  Soiici  Palace,  whe; 
Christophe.  The  porta, 
give  entrance  to  a  vanqi 
of  the  Palace  of  Sans  5 
have  covered  the  walls 
and  the  natives  have 
Faith  crowning  the  elab 
Christopher  Columbus  h 
Center  (under  circle) — i 
design,  pedestaled  wit] 
Columbus  in  the  ( 


February,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-one 


Portrayed  by  Parichy 


RICHY 

or  view  of  Cathedral  of 
aidiful  shrine  of  Chris- 
it  majestic  bronze  lions 
ms  Shrine  in  the  Cathe- 
•al  at   Port  au  Prince, 

of  which  are  the  first 
rd.     Bronze  crucifix  in 

suppliants  argue  with 
view  of  Port  au  Prince, 
century  Air  Line  Ltd." 
monad  Christophe  was 
I  is  at  the  foot  of  Sans 
of  the  proud  legendary 
the  famous  black  ruler, 
Souci  Palace,  that  now 
f.  The  grand  stairways 
re  the  ravages  of  Time 

with  moss  and  lichen, 
:oot paths."  Symbol  of 
le  and  bronze  shrine  of 
dral  of  Santo  Domingo, 
'•onze  casket  of  intricate 
holds  the  remains  of 
f  Sayito  Domingo. 


ing  heavy  weights  upon  the  head — '"every- 
thing goes  to  the  head"  from  a  spray  of  nar- 
cissus to  a  silversmith's  anvil,  balanced  with 
remarkable  vigor  and  skill. 

I  have  seen  flocks  of  these  women  burden- 
bearers  of  all  sizes  and  ages  bringing  in  their 
heavily  laden  panniers  over  mountain  and 
valley,  traveling  great  distances  of  forty  to 
fifty  miles  on  foot  to  gain  the  city  market 
price  of  an  extra  half  gourde  (10  cents  Ameri- 
can). 

Every  day  is  market  day  in  this  land  where 
Nature  provides  an  abundance  of  luscious 
fruits  and  succulent  greens,  and  these  native 
women  are  the  world's  champion  barterers. 
They  display  their  wares  along  the  streets, 
curbs,  and  at  all  the  rural  crossroads,  the  lat- 
ter being  called  "Petite  Marches."  At  one  of 
the  crossroads  on  the  way  to  St.  Marc,  I 
noticed  some  huge  iron  kettles  upended  which 
I  learned  had  been  there  over  one  hundred 
years. 

Tradition  has  it  that  when  the  slaves  rose 
against    the    French    they    destroyed    all    the 


French  construction,  and  after  demolishing 
all  the  sugar  mills  took  to  the  crossroads  the 
kettles  used  for  boiling  syrup,  leaving  them 
upended  as  a  mute  symbol  of  their  freedom 
from  slavery. 

Home  of  Christophe 

Two  hundred  miles  to  the  north  of  Port  au 
Prince  lies  the  vast  domain  of  that  once  famous 
self-crowned  black  ruler,  Christophe,  and  atop 
a  3000-foot  mountain  peak  twenty  miles  from 
the  city  of  Cape  Haitian  looms  his  gigantic- 
fortress,  with  its  grim,  forbidding  battlements, 
the  Citadelle  Spectacular. 

Colossal  are  the  bleak  walls  that  have  weath- 
ered a  century  and  now  stand  silent  spectres 
to  commemorate  a  commanding  personality. 
Everywhere  are  the  weird,  immense,  melan- 
choly ruins,  mocking  his  physical  power;  bru- 
tally stand  guard  forever  the  cannon  of  the  old 
regime,  in  dark  mysterious  corridors  peering 
through  embrasures  and  frowning  upon  an 
invisible  foe.  Here  were  gathered  the  bravest 
of  Haiti's  warriors — here  were  born  intrigue 
and  tragedy — here  Life  pulsed  at  its  fullest — 
here  the  Great  Christophe  planned  and  schemed 
and  here  the  Finger  of  Fate  unrobed  him  of 
his  mantle  of  dreams. 

In  an  open  court  on  the  center  terrace  stands 
a  bleak  unadorned  tomb  of  this  man  who  rose 
from  slavery  to  crown  and  sceptre — a  tomb 
companioned  by   silent  loneliness,  as   only  the 


Tic*  nty-two 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  1931 


daring'  ascend  the  perilous  trail  of 
eight  miles  on  horseback,  to  view  this 
stronghold,  the  eighth  wonder  of  the 
world. 

At  the  foot  of  Bonnet  a  l'Eveque, 
where  stands  the  Citadel,  are  the 
ruins  of  the  once  majestic  Palace  of 
Sans  Souci,  where  Christophe  reigned 
with  a  fanfare  of  farcical  court  life 
and  created  around  himself  a  mock 
nobility. 

The  ravages  of  Time  have  covered 
the  walls  and  stairways  with  moss 
and  lichen.  The  tropical  life  has 
pushed  its  way  into  the  halls  and 
apartments,  once  so  luxuriantly  ap- 
pointed in  a  grandeur  of  colonial  do- 
minion. Now  the  proud  legendary 
Sans  Souci  knows  only  the  inhabitants 
of  the  tiny  village  of  Milot,  who  pad 
barefood  up  her  grand  stairways  and 
across  her  thresholds  and  who  fur- 
row paths  to  pasture  their  goats  in 
her  courtyards. 

Two  Voodoo  Drums 

Before  I  left  Haiti  I  was  fortunate 
enough  to  come  into  possession  of 
two  Voodoo  ceremonial  drums  which 
I  prize  more  than  anything  I  have 
collected  in  my  travels  about  the 
world.  They  are  very  old,  I  under- 
stand, dating  back  to  the  Caco  upris- 
ing; they  are  hand-hewn  from  tree 
trunks,  weighing  from  twenty-five  to 
thirty  pounds  each;  the  heads  of  goat 
skin  are  stretched  over  and  held  taut 
by  round  wooden  pegs  and  hooplike 
clamps  tightened   with   lacings. 

These  drums  are  beaten  alternately 
with  the  fingers  and  heel  of  hand. 
They  are  before  me  now,  my  hands 
idly  tapping — vainly  trying  to  swing 
into  the  rhythm  produced  by  the 
hands  of  Voodoo.  The  beat  is  ever 
running  through  my  mind,  flooding 
me  with  its  timbre  like  an  anesthetic 
that  wafts  me  back  to  a  memorable 
night. 

It  is  Saturday  night;  the  moon  is 
low,  and  off  in  the  hills  the  dusk  fires 
are  showing.  Presently  from  afar 
comes  the  voice  of  the  Voodoo  drums, 
calling;  the  sound  is  caught  and  re- 
echoed through  all  the  hills — multi- 
plied by  the  exotic  fragrance  of  the 
night  it  becomes  an  insistent,  irresist- 
ible   call — whoever   is    the    silent   wit- 


ness to  the  Voodoo  Congo  dance  long 
remembers. 

Here  is  an  assemblage  of  twoscore 
or  more  in  a  compound,  grouped 
around  the  drums;  the  ritual  begins 
with  all  its  signs  and  accoutrements. 
Christian  feeling  is  stifled  by  an  un- 
conscious Gordian-knot  of  African 
paganism  amalgamating  in  weird 
Voodoo  syncopation;  the  blood  of  the 
Congo  throbs  insatiably  for  mad 
hypnotic  expression  of  emotions. 

How  well  they  respond  to  the  tom- 
tcmming  of  the  native  drums — how- 
wall  they  know  its  cadence — tom-tom- 
t-o-m-ZOOM  —  tom-tom-t-o-m-ZOOM 
— tom-tom-t-o-m-ZOOM!  —  slowly  at 
first,  in  lukewarm  rhythm — then  as 
the  drummers  zoom  it  up  in  quickened 
momentum  there  is  response  in  swift 
oscillating  of  hips  and  muscular  un- 
Julation  of  arms  and  body. 

These  dancers  seem  possessed  by 
divine  frenzy  in  this  primeval  "Danve 
of  Life."  Here  is  a  tremendous 
drama,  enacted;  here  is  a  cinema  re- 
flection; a  retake  of  early  B.C.  cen- 
turies of  gyrations  performed  before 
the  Pharaohs'  sacred  Apis;  of  Salome 
with  her  dance  of  Quest;  of  the  sac- 
rificial ceremonies  of  Guinea;  all 
these  race  memories  die  hard. 

And  while  Haitian  Blacks  embrace 
the  Crucifix  the  pendulum  of  their 
mind  swings  back  to  the  ancient  creed, 
with  all  its  gadgets  of  "ouanga" 
charms,  thunderstones,  gourd  rattles 
and  the  ever  incessant  beating,  beat- 
ing of  ceremonial  drums. 


Australia  Theaters  Slow 

in  Ordering  1931   Films 

ACCORDING  to  a  recent  report 
from  Assistant  Trade  Commis- 
sioner H.  P.  Van  Blarcom  in 
Sydney,  Australia,  exhibitors  are  not 
buying  ahead.  The  selling  period  for 
1931  pictures  should  ordinarily  have 
occurred  in  the  last  three  months  of 
1930,  but  at  the  year's  close  very  few 
contracts  had  been  signed  for  next 
year's  pictures. 

Uncertain  business  conditions  were 
given  as  the  principal  reason  why  ex- 
hibitors hesitated  to  commit  them- 
selves, but  further  hesitancy  may  be 


Esselle  Parichy  with  two  of  the  voo- 
doo drttms  brought  back  from  Haiti 

attributed  to  the  changes  and  rumored 
changes  in  the  major  circuits,  while 
poor  box  office  returns  in  1930,  sup- 
posedly because  of  poor  pictures,  is 
an  added  factor. 

Distributors  are  not  pressing  their 
pictures  on  exhibitors  because  they 
realize  the  present  depression  is  hav- 
ing its  effect  on  attendance  and  un- 
doubtedly low  prices  are  being  offered 
by  the  exhibitors  because  of  this. 

With  one  large  American  company 
controlling  a  major  circuit  and  an- 
other rather  closely  allied  to  the  other 
major  loop  outlets  for  some  pictures 
are  assured,  but  suburban  exhibitors 
will  probably  hold  off  as  long  as  pos- 
sible at  least  until  some  definite  indi- 
cation in  regard  to  the  future  becomes 
apparent. 


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/•'<  binary,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-three 


Chaplin  9s  ''City  Lights ' '  Premier 

Opens  New  Los  Angeles  Theatre 


CHARLES  CHAPLIN'S  "City 
Lights"  was  given  its  premier 
performance  in  the  new  Los 
Angeles  Theater,  on  Broadway  be- 
tween Sixth  and  Seventh  streets,  on 
the  evening  of  January   30. 

Writing  in  advance  of  the  event  it 
would  seem  under  the  striking  cir- 
cumstances it  is  hardly  likely  any 
preceding  premier  will  match  it  in 
all-around  significance  or  importance. 

In  the  first  place  it  is  to  be  opened 
in  a  house  declared  to  be  the  last 
word  in  comfort  and  even  luxury. 
Then  again  it  is  a  Chaplin  picture, 
and  the  first  in  two  years.  Most  im- 
portant, however,  is  the  fact  that  in 
an  industry  definitely  committed  to 
"talking  pictures,"  in  spite  of  the 
feeble  utterances  of  an  occasional 
straggling  protestant,  this  produc- 
tion will  contain  no  dialogue,  although 
there  will  be  orchestral  accompani- 
ment in  the  composition  of  which 
Chaplin  has  had  a  hand. 

The  production  will  be  reviewed  in 
this  magazine  in  the  March  number. 
Also  there  may  be  recorded  some  im- 
pressions of  the  occasion  entirely 
apart  from  the  picture  itself. 

Following  the  performance  in  Los 
Angeles  Chaplin  was  slated  to  start 
for  New  York  to  be  present  at  the 
opening  in  the  George  M.  Cohan 
Theatre  there  February  6;  that  is,  if 
in  the  meantime  he  did  not  suddenly 
decide  to  start  around  the  world  from 
the  Pacific  side,  making  Japan  his 
first  stop.  The  period  to  be  devoted 
by  the  comedian  to  his  vacation  trip 
abroad  is  on  the  lap  of  the  gods — 
but  he  has  so  far  committed  himself 
as  to  say  on  his  return  he  will  make 
another  picture,  also  a  silent  one. 

Carlyle  Robinson,  who  has  been 
associated  with  Chaplin  for  a  dozen 
years  and  who  has  made  other  foreign 
trips  with  him,  will  go  along. 


Dr.   MacKenzie  Chairman   of 

Western  Section  Engineers 

THE  Pacific  Coast  section  of  the 
Society  of  Motion  Picture  Engi- 
neers held  a  dinner  session  at 
Marchetti's  on  the  evening  of  Janu- 
ary 22  and  elected  Dr.  Donald  Mac- 
Kenzie of  Electrical  Research  Prod- 
ucts as  chairman,  Emery  Huse  of 
Eastman  Kodak  as  secretary,  and 
L.  E.  Clark  of  Pathe  as  treasurer. 
H.  C.  Silent  of  Erpi  was  made  a 
member  of  the  board  of  managers. 
The  others  on  the  board  are  George 
Mitchell,  who  is  holding  over,  and 
Pete  Mole,  who,  as  retiring  chairman 
of  the  section,  automatically  falls  into 
the  place. 

Leigh  Griffith  was  named  for  the 
membership  committee  and  Gerald 
Rackett  on  that  of  papers  and  pro- 
grams. Pete  Mole  was  delegated 
chairman  of  the  section's  convention 
committee  to  work  in  co-operation 
with  the  committee  of  the  society  in 
New  York.  The  joint  committee  will 
arrange  matters  for  the  semi-annual 


session  of  the  society  to  be  held  in 
Hollywood  this  coming  spring.  Karl 
Dreyer  was  named  as  chairman  of 
the  committee  on  nublic  relations. 

There  was  a  discussion  as  to  the 
type  of  papers  to  be  written  by  the 
local  section  at  coming  meetings.  It 
is  likely  the  90  members,  about  evenly 
divided  between  active  and  associate, 
will  hold  sessions  at  least  once  a 
month  during  the  coming  season. 


"Shadoivs  of  the  Dead" 

Being  Made  as  a  Silent 

According  to  a  recent  report  by 
Assistant  Trade  Commissioner  Wilson 
C.  Flake  of  Calcutta,  India,  the  United 
Pictures  Corporation  (India)  Ltd.  has 
just  opened  its  new  studio  at  Luck- 
now  and  has  already  begun  to  produce 
silent  pictures,  the  first  of  which  will 
be  called  "The  Shadows  of  the  Dead." 

Up  to  the  present  time  the  film  in- 
dustry in  India  has  been  largely  con- 
fined to  the  Provinces  of  Bombay  and 
Bengal;  but  the  new  studio  at  Luck- 
now,  which  is  in  the  United  Provinces, 
is  situated  900  miles  from  Bombay 
and  600  miles  from  Calcutta. 


IF   you   are   interested    in 

Sound-on-Film  Recording 


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ustrated  Catalogue 

It's  a  worthwhile 
story    it    tells 


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^1^/  CABLE  HOCAMEX15II  CAHUENGA  B  LVD  -PHONE  HO  ?43I 


Twenty-four 


The    INTERNATIONAL    PHOTOGRAPHER 


Feb)  nary,  1931 


Looking  In  on  Just  a  Few  New  Ones 


Cimarron 

Eddie    Cronjager,   Cameraman 

IF  "CIMARRON"  is  a  long  story- 
its  studio  preview  ran  approxi- 
mately two  hours — the  picture  will 
go  a  long  distance.  It  contains  many 
elements  of  large  popular  appeal.  It 
is  fundamentally  a  document  of  hu- 
man rights — of  equal  rights  to  the 
red  man  among  others.  A  Jewish 
peddler  is  one  of  the  fine  characters 
of  the  tale,  carrying  through  the  two- 
score  years  traversed  by  the  picture. 
A  negro  boy  accompanies  the  family 
from  Wichita  to  Osage  and  meets  his 
death  in  trying  to  rescue  the  child 
Cimarron  when  the  latter  is  caught 
between  the  battling  townsmen  and 
the  bank  bandits. 

So  far  it  is  a  showman's  picture. 
Add  to  this  that  it  is  a  tale  of  an 
American  family,  of  father  and 
mother  and  child,  which  in  1889  en- 
ters a  pioneer  town  and  settles — at 
least  the  mother  does.  And  we  leave 
the  mother  in  1929  still  settled — and 
a  member  of  Congress.  All  the  way 
it  is  above  all  a  family  story.  And 
the  stern  gunplay  will  draw  to  the 
box  office  every  available  boy  in  the 
land.     It  is  still  a  showman's  picture. 

Wesley  Ruggles  has  produced  a 
spectacle — not  merely  in  the  opening 
sequences  with  the  land  rush,  staged 
with  thrills  aplenty  on  an  unprece- 
dented scale  and  covering  an  area  the 
scope  of  which  no  one  camera  could 
record ;  but  recurring  steadily 
throughout  the  unfolding  of  the  story 
come  sets  of  great  size,  many  of  them 
plainly  created  for  the  particular 
work  in  hand.  Again  it  is  a  show- 
man's picture. 


By  GEORGE  BLAISDELL 

And  best  of  all  flowing  through 
the  dozen  reels  are  human  interest 
and  heart  interest  of  sufficient 
strength  and  of  consistency  in  con- 
tinuity of  grip  to  hold  very  quietly 
in  their  seats — except  occasionally  in 
comedy  moments — a  hundred  odd  ten- 
minute-egg  reviewers,  a  clan  which 
prides  itself  more  or  less  on  its  im- 
pregnability to  attack  on  the  human 
side.  So  you  see  as  far  as  one  may 
forecast  from  its  fi-ont  elevation 
"Cimarron"  inescapably  is  a  show- 
man's   picture. 

Richard  Dix  portrays  Yancey  Cra- 
vat, that  strange  combination  of 
lawyer-editor  and  pioneer-adventurer, 
of  idealist  and  vigilante,  of  family 
man  and  wanderer;  a  most  desirable 
citizen  except  for  his  attacks  of 
wanderlust,  one  of  these  taking  him 
away  from  home  for  five  years  and 
another  over  twenty.  Cravat  is  a  most 
likable  character. 

While  Dix  by  reason  of  the  story 
carries  the  larger  honors  there  is  an- 
other player  who  shares  these  with 
him — Irene  Dunne  as  Mrs.  Cravat, 
Sabra.  Especially  true  is  this  in 
the  closing  scenes  of  the  picture.  Here 
is    a    splendid    performance. 

George  E.  Stone  is  Sol  Levy,  the 
merchant  who  begins  with  Osage  as 
it  rises  from  the  plain,  entering  the 
town  with  a  donkey  and  his  stock  of 
wares  and  becoming  in  the  years  one 
of  its  leading  citizens.  Parallel  with 
Levy  is  Jess  Rickey,  the  stuttering 
printer  of  the  Wigwam,  interpreted 
by  Roscoe  Ates.  These  two  are  prin- 
cipals in  name  and  in  fact. 


Estelle  Taylor  figures  briefly  and 
competently  in  the  role  of  Dixie  Lee, 
against  whom  many  hands  are  raised. 
Dixie's  occupation  is  soft-pedaled  to 
such  an  extreme  degree  that  only  the 
more  worldly  wise  will  sense  it — 
thereby  keeping  the  production  with- 
in the  100  per  cent  qualification  for 
the  tenderer  ages. 

The  picture  is  based  on  the  novel  by 
Edna  Fei'ber,  who  probably  would 
plead  guilty  to  having  had  the  screen 
in  mind  when  she  wrote  it.  Howard 
Estabrook  is  the  writer  of  the  adapta- 
tion. Max  Ree  is  the  art  director — 
and  a  large  factor  in  the  production. 

Much  is  going  to  be  heard  in  the 
coming  weks  of  "Cimarron."  Follow- 
ers of  pictures  owe  it  to  themselves 
to  see  it  in  its  earlier  runs,  before 
the  cutters  start  the  curtailment  in 
footage  that  undoubtedly  will  pre- 
cede the  showing  in  the  smaller 
houses. 

R  K  0  as  maker  and  Louis  Sarecky 
as  associate  producer  of  "Cimarron" 
are  entitled  to  stick  feathers  in  their 
respective  hats.  So,  too,  these  are 
entitled  to  pin  bouquets  on  the  di- 
rector and  the  cameraman. 


Hatto  Tappenbeck  stops  by  the  roadside  in  Galway,  Ireland — and  who  would 
not? — to  record  the  appealing  face  of  this  little  mother  in  her  quaint  shawl. 


The  Criminal  Code 

Teddy  Tetzlaff,  Cameraman 

WITH  "The  Criminal  Code"  Co- 
lumbia may  walk  up  front  in 
any  motion  picture  procession. 
This  subject  directed  by  Howard 
Hawks  packs  all  the  power  that  the 
limitations  of  good  entertainment 
measurably  permit  any  one  picture  to 
carry.  Right  here  it  is  made  bold  to 
say  if  it  were  any  stronger  it  would 
be  too  much  for  the  comfort  of  many 
who  go  to  see  pictures.  Certainly  it 
is  rare  drama. 

Walter  Huston  is  at  his  best  in  the 
part  of  the  district  attorney  who  later 
becomes  prison  warden  over  a  thous- 
and men  he  had  been  instrumental  in 
"sending  up."  Of  course  concededly 
it  is  a  trite  saying  to  write  that  Hus- 
ton is  at  his  best,  but  in  all  truth  he 
so  seems  always  to  be.  Possibly  the 
truth  is  to  be  found  in  the  suggestion 
that  Huston  will  not  take  a  part  he 
cannot  "see." 

If  this  be  a  fact,  in  view  of  the  uni- 
formity of  good  story  value  in  Huston 
pictures,  it  might  be  a  bet  for  a 
harassed  producer  to  seek  the  actor's 
counsel  on  material  under  considera- 
tion for  some  floundering  brother 
player.     But  all  that's  another  story. 

Surely  Martin  Flavin's  play  as 
adapted  with  added  dialogue  by  Fred 
Niblo  Jr.  and  Seton  Miller — and  we 
repeat  as  directed  by  Hawks — is  a  re- 
markable medium  for  displaying  the 
dramatic  ability  of  several  persons. 

While  Huston  is  most  of  the  time 
the  pivot  of  the  drama  that  unwinds 
behind  grim  walls  he  gets  most  com- 
petent aid  from  Phillip  Holmes  and 
De  Witt  Jennings  and  Constance 
Cummings  and  Boris  Karloff  among- 
others. 

Young  Holmes  is  cast  in  a  hard  part 
— that  of  the  youth  who  with  a  bottle 


t\  bniary,  19.J1 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-five 


strikes  harder  than  lie  realizes  in  the 
mistaken  belief  he  is  defending  a 
woman's  honor — and  kills.  For  man- 
slaughter he  goes  to  prison,  and  when 
the  new  warden  arrives  he  has  spent 
six  years  in  the  jute  mill — a  physical 
wreck. 

Under  the  physician's  suggestion 
the  warden  shifts  the  boy — takes  him 
as  his  driver.  There  the  warden's 
daughter  meets  Graham,  and  is 
thrilled  as  with  growing  interest  she 
follows  the  progressive  restoration  in 
health  and  morale  of  a  human  being. 

It  would  be  a  shame  to  uncover  too 
much  of  the  story.  It  is  worth  seeing 
unincumbered  by  too  many  tips  on  its 
course  or  its  outcome.  There  are 
scenes  in  the  cell  blocks  and  out  in  the 
great  square  yard  where  the  convicts 
mull  and  "yam"  or  razz  everybody  in 
general  when  the  cause  seems  suffi- 
cient. There  are  first-hand  examples 
of  the  manner  in  which  the  under- 
ground word  travels  through  the  big 
institution. 

There  are,  too,  examples  of  third- 
degree  methods  on  the  part  of  a 
brutal  captain  of  the  guard — and  we 
see  Jennings  at  his  histrionic  meanest, 
and  which  no  one  worldly  wise  will 
construe  to  be  overdrawn  as  to  por- 
trayal of  fact. 

The  turning  point  of  the  story 
comes  when  the  captain  meets  his 
death  at  the  hands  of  a  convict  who 
for  years  has  waited  his  chance  to 
keep  his  self-imposed  appointment 
with  the  one  man  he  blames  for  all 
his  later  troubles.  Writing  as  one 
still  under  the  illusion,  and  the  illu- 
sion is  one  that  lingers,  there  is  bound 
to  be  wonderment  as  to  the  attitude 
of  some  of  the  small-minded  "ladv 
cancers"  male  as  well  as  female  in 
small  towns  and  big  as  to  what  fuss 
to  start  over  this  shocking  affront  to 
"constituted   authority"! 

Getting  away  from  the  unpleasant 
subject  of  these  boy-bobbed  antiqui- 
ties "The  Criminal  Code"  is,  we  re- 
iterate, rare  drama — a  tale  of  cold- 
blooded men  who  sometimes  think  ex- 
ceedingly straight;  of  affections  and 
sacrifices  among  those  who  flout  the 
law;  of  deep  love  between  a  father 
and  daughter,  and  of  a  strange  if 
entirely  understandable  romance  be- 
tween a  boy  and  a  girl. 


The    Blue    Ansel 
Gunther  Rittau,  Cameraman 

ABOVE  all  else,  "The  Blue  An- 
gel," a  remarkable  Ufa  produc- 
tion which  Paramount  will  dis- 
tribute in  this  country,  is  notable  for 
the  characterization  by  its  star,  Emil 
•Tannings.  That  he  is  the  star  in  fact 
as  well  as  in  name,  in  spite  of  the 
presence  at  the  head  of  the  cast  of 
Marlene  Dietrich,  there  probably  will 
be  general  agreement. 

Jannings'  portrayal  of  the  austere 
doctor  professor  who  falls  in  love 
with  a  dancer  and  goes  to  the  dogs 
will  rank  with  the  best  of  his  pre- 
vious work  if  it  does  not  surpass  it — 
and  that  is  saying  enough. 

For  the  105  minutes  the  picture  is 
on  the  screen  it  is  dominated  by  the 
burly  German.  Had  his  place  been 
filled  by  one  of  lesser  power  the  lead- 
ership easily  would  have  fallen  to 
Dietrich,    who    in    this    picture    more 


fully  reveals  her  versatility— and 
geniality — than  was  permissible  in 
the  chillingly  molded  interpretation 
she  was  caused  to  bestow  upon  her 
part  in  "Morocco." 

We  now  see  her  as  a  more  human, 
more  frankly  seductive  and  fascinat- 
ing representative  of  femininity,  one 
who  while  making  no  show  or  parade 
of  adherence  to  conventions  never- 
theless walks  a  straight  path  of  de- 
votion to  one  man,  one  much  older 
than  herself,  both  before  and  after 
marriage.  She  does  at  least  until  the 
sudden  aboutface  as  the  mental  facul- 
ties of  the  husband  show  evidences  of 
breaking,  when  she  accepts  the  ardent 
attentions  of  the  actor  whom  she  cas- 
ually meets  on  a  stairway. 

The  tale  is  a  tragedy.  That  such  is 
the  fact  is  cleverly  concealed  through 
the  major  part  of  the  action.  The  grim 
denouement  is  all  the  more  of  a  shock 
by  reason  of  the  element  of  surprise 
experienced  by  the  beholder.  The  plot 
develops  slowly  but  steadily,  one  stone 
on  another.  It  is  only  when  viewed 
retrospectively  one  realizes  how  re- 
morselessly. 

The  subject  is  an  Erich  Pommel' 
production.  It  was  directed  by  Joseph 
Von  Sternberg  in  Germany.  It  is 
based  on  a  novel  by  Heinrich  Mann 
and  was  adapted  by  Carl  Zuckmayer, 
Karl  Zollmoeller  and  Robert  Lieb- 
mann.  The  finished  result  as  we  see 
it  on  the  screen  is  far  and  away  above 
the  ordinary,  and  its  attainment  was 
aided  and  abetted  by  a  thoroughly 
competent  production  staff. 

If  it  be  the  intention  of  the  distrib- 
utors to  release  the  picture  in  the 
same  footage  as  was  shown  at  a  pre- 
view in  Los  Angeles  it  would  add  to 
the  enjoyment  of  the  spectator  if  it 
were  known  beforehand  the  running 
time    would    be    an    hour    and    three- 


quarters.  Without  advance  informa- 
tion the  one  out  front  is  misled  into 
sensing  the  approach  of  the  end  sev- 
eral times  during  the  final  half  hour, 
as  there  are  situations  which  forecast 
the  curtain  as  the  scene  fades  only  to 
be  followed  by  a  fade-in  for  a  contin- 
uation. 

One  of  these  sequences  is  the  con- 
clusion of  the  wedding  and  its  suc- 
ceeding merrymaking,  a  spot  for  an 
ideal  happy  ending.  And  there  are 
others.  With  the  running  time  known 
in  advance  there  will  be  no  disposi- 
tion to  complain  about  length.  The 
story  holds  all  the  way. 

One  of  the  singular  phases  of  "The 
Blue  Angel"  is  that  it  demonstrates 
the  complete  possibility  of  designing 
a  two-language  picture  that  may  be 
viewed  with  understanding  and  inter- 
est by  those  speaking  either  of  the 
pair.  Certainly  in  the  present  in- 
stance interest  in  the  production  is 
not  appreciably  diminished  because  of 
not  understanding  German. 

In  "The  Blue  Angel"  English  is 
spoken  by  two  persons,  the  professor 
and  the  dancer-singer.  The  first  is 
instructor  of  a  class  in  English  and 
the  woman  speaks  English  but  does 
not  understand  German.  All  others  in 
the  cast  of  this  Old  World  story  speak 
German. 

If  it  be  a  story  of  the  Old  World 
it  also  is  of  a  world  new  to  the  un- 
traveled  American,  and  its  appeal 
will  be  all  the  more  marked  on  that 
account. 


The   Lash 

■/.  0.  Taylor,  Cameraman 

MEXICO   in  the  past  frequently 
has  complained  about  the  man- 
ner in  which  its  nationals  and 
its    customs    have    been    painted    by 
United   States  picture  makers  for  re- 


Monroe  Bennett  conveys  the  virus  of  the  tired  bug  into  willing  or  even  anxious 
veins  when  he  teases  us  with  this  alluring  shot  of  the  harbor  of  Nice,  France 


Twenty-six 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  19S1 


production  on  the  screens  of  the 
world.  Beyond  question  in  many  in- 
stances the  grievances  were  real,  and 
as  such  tacitly  have  been  conceded  by 
governmental  and  production  repre- 
sentatives in  this  country. 

Mexicans  official  and  private  will 
lay  no  such  charge  against  "The 
Lash,"  First  National's  contribution 
to  the  cause  of  amity  between  the 
countries  that  face  each  other  across 
the  Rio  Grande.  For  in  this  stirring 
story  of  the  late  forties  it  is  the 
Americanos  who  supply  the  villainy 
and  the  Californians,  meaning  the 
residents  of  Spanish  descent,  who  are 
the  victims  of  it. 

Singularly  enough,  the  American  of 
today  who  sits  under  the  screen  tell- 
ing this  story  of  spoliation  by  his  fel- 
lows of  an  earlier  day  will  probably 
practically  without  exception  extend 
his  sympathies  to  the  Californians. 

The  tale  is  an  adaptation  by  Brad- 
ley King  of  the  novel  "Adios"  by 
Lanier  and  Virginia  Stivers  Bart- 
lett.  Regardless  of  the  fidelity  with 
which  the  scenarist  has  followed  the 
original  she  has  given  us  a  picture 
that  is  charming  in  its  entirety. 
Frank  Lloyd  with  his  customary  skill 
has  translated  it  into  a,  subject  of 
dramatic  and  pictorial  quality. 

As  to  the  latter  factor  Cameraman 
Taylor  bulks  big,  for  he  has  contrib- 
uted his  full  share  to  the  final  screen 
result.  The  picture  was  three-quar- 
ters down  at  Warners'  Hollywood 
house  before  it  dawned  on  the  review- 
er he  was  sitting  in  on  a  subject  that 
had  been  photographed  on  wide  film, 
which  inquiry  disclosed  to  be  of  the 
♦35  mm.  dimension. 

One  of  the  best  demonstrations  of 
the  value  of  the  wide  field  was  in  the 
running  shots,  the  pursuit  of  the  hero 
by  a  posse  or  again  in  the  several 
action  exteriors  in  which  the  screen 
was  crossed  by  stampeding  cattle  or 
the  rapid  movement  of  large  troops 
of  horsemen.  If  the  wide  film  has 
value  in  interiors  its  charm  and  at- 
tractiveness, its  realism,  is  multiplied 
in  the  case  of  outdoors  stuff.  The 
stampede  of  the  cattle  will  linger  in 
the  memory. 

Richard  Barthelmess  portrays  the 
Californian  of  Spanish  descent  who 
returns  to  his  uncle's  homestead  from 
his  schooling  in  Mexico  to  find  his 
native  land  in  the  possession  of 
Americans,  not  all  of  them  scrupu- 
lous and  one  of  them  not  stopping  at 
murder. 

Fred  Kohler  carries  the  role  of  the 
American  land  commissioner  who 
kills  the  head  of  the  Spanish  family 
when  his  burglarious  quest  of  a  home 
for  a  deed  is  interrupted.  Robert  Ed- 
eson  is  the  landowner.  Both  of  these 
men  in  their  widely  separated  charac- 
ters give  us  of  their  best,  as  in  fact 
do  the  entire  cast — Mary  Astor  and 
Marion  Nixon  as  the  girls  who  re- 
spectively fall  in  love  with  the  young' 
men  of  the  story,  the  first  with  the 
hero  and  the  second  with  Howard, 
played  by  James  Rennie.  To  the  last 
named  falls  the  duty  of  upholding  the 
credit  of  the  Americans,  and  credit- 
ably he  fulfills  his  charge. 

Arthur  Stone  in  the  comparatively 
minor   part  of  Juan,  the  aid   of   the 


hero,  makes  his  characterization  stand 
out.  Mathilde  Comont  and  Erville 
Alderson  also  hold  the  stage  effec- 
tively if  briefly. 

"The  Lash"  is  a  picture  well  worth 
seeing — especially  for  those  who  are 
fond  of  the  fast-moving  outdoor  sub- 
ject. And  for  those  who  prefer  the 
romantic  or  the  picturesque  showing 
of  large  groups  of  festive  persons 
they  will  here  find  their  fill. 


Scandal  Sheet 

David  Abel,  Cameraman 

OF  NEWSPAPER  stories,  like 
books,  there  is  no  end,  but  Par- 
amount in  "Scandal  Sheet,"  a 
tale  by  Vincent  Lawrence  and  Max 
Marcin,  has  produced  one  worthy  of 
the  name.  Its  underlying  theme  is  a 
managing  editor  whose  guiding  phi- 
losophy is  to  print  the  news,  let  the 
blow  fall  where  it  may. 

For  this  brutal  viewpoint  of  what 
constitutes  newspaper  ethics  there  is 
abundant  classical  precedent.  Just 
one  instance  may  suffice  to  prove  the 
authors  were  within  the  realm  of  fact 
when  they  laid  their  foundation.  Old 
New  Yorkers  may  recall  the  remark 
attributed  to  Charles  A.  Dana  that 
"Whatever  God  Almighty  permits  to 
happen  is  good  enough  for  me  to  print 
in  the  New  York  Sun." 

John  Cromwell  in  his  direction  has 
created  the  atmosphere  of  the  inside 
of  a  newspaper  office.  George  Ban- 
croft as  the  managing  editor  has  con- 
tributed to  the  enhancement  of  that 
atmosphere.  Lawrence  and  Marcin 
have  put  into  his  mouth  words  that  a 
managing  editor  of  a  large  sheet 
might  use. 

The  scene  in  which  the  chief 
after  having  held  up  the  story  un- 
covering the  skeleton  in  his  own 
closet  returns  to  his  desk  and  with 
his  principal  subordinates  listening  in 
dictates  a  new  lead  describing  how  he 
had  shot  the  other  man  carries  a 
rare  thrill.  And  the  paragraph  dic- 
tated is  a  model  of  terse  and  descrip- 
tive writing, 

Kay  Francis  plays  the  wife  who 
falls  in  love  with  the  bank  president, 
portrayed  by  Clive  Brook.  There  is 
nothing  impetuous  in  the  proceeding. 
The  wife  has  stifled  her  abomination 
of  her  husband's  code  out  of  regard 
for  the  effection  she  knows  he  bears 
her  and  of  realization  of  the  size  of 
the  disaster  that  will  follow  to  him  if 
she  deserts  him.  The  turning  point 
comes  when  the  editor  publishes  the 
precarious  position  of  the  bank  due  to 
misjudgment  in  management  and  the 
loss  to  innocent  depositors  that  will 
follow  the  exposure. 

The  production  is  one  that  through- 
out its  entire  length  shows  abundant 
evidence  of  care  in  preparation,  of 
combined  skill  and  intelligence  in 
corception  and  treatment.  To  those 
opinionated  persons  who  insist  in  sea- 
son and  out  that  the  screen  requires 
no  aid  from  the  stage  "Scandal  Sheet" 
should  give  pause — that  is,  unless  as 
may  be  possible  they  are  closed  to 
contrary  opinion.  It  just  happens 
that  a  majority  if  not  all  of  those 
who  have  to  do  with  the  creation  of 
the  subject  are  of  the  stage. 


On  the  physical  side  the  produc- 
tion is  in  keeping  with  the  story.  The 
cast  is  excellent,  besides  those  named 
Regis  Toomev  as  Regan  the  reporter 
and  Gilbert  Emery  as  the  publisher 
also  doing  noteworthy  work.  There  is 
another  player,  unidentified,  unvocal, 
who  at  times  fills  the  eye  and  grips 
the  attention — the  editor's   secretary. 

The  conclusion  of  the  picture  is  de- 
signed to  lighten  the  tension  of  a 
grim  story.  The  editor  is  shown  in 
Sing  Sing,  where  following  a  long 
period  of  utter  dejection  his  old-time 
spirit  and  enthusiasm  return  when 
the  warden  delegates  him  to  take 
charge  of  the  prison  publication.  The 
sequence  will  be  strongly  reminiscent 
to  many  of  that  noted  city  editor  of  a 
New  York  evening  newspaper  who 
went  to  Sing  Sing  because  of  a  slay- 
ing but  never  was  forgotten  by  his 
former  associates. 

But  that  title — it  is  cheap,  false. 
It  is  beneath  the  dignity  of  the  story 
of  which  it  is  placed  in  front.  As  well 
tag  with  an  opprobrious  epithet  a 
man  who  always  tells  the  truth — that 
is,  measurably  so. 


The   Royal   Family   of   Broadway 

George  Folsey,  Cameraman 

THE  old  year  had  yet  another 
day  to  travel  when  Paramount 
showed  "The  Royal  Family  of 
Broadway"  at  its  studio  theatre.  It  is 
worth  walking  a  mile  to  see.  This  pro- 
duction of  the  New  York  studio  is 
one  of  the  best  examples  of  the  blend- 
ing of  stage  and  screen,  for  through- 
out its  strenuous  progress,  amusing 
at  times  and  deeply  absorbing  and 
moving  at  others,  it  seems  more  in  the 
realm  of  the  former  than  in  that  of 
the  latter. 

In  the  first  place,  on  the  physical 
production  side,  the  tale  practically 
is  entirely  indoors.  There  are  a 
couple,  possibly  three,  flashes  of  the 
outdoors,  and  very  brief  flashes.  But 
the  screen  brings  the  rapid  transition 
from  one  part  of  the  familv  residence 
to  another,  and  again  a  couple  of 
times  outside,  once  to  the  cabin  of  a 
steamer  on  the  high  seas  and  again 
to  the  theatre. 

The  tale  is  of  a  mother,  daughter 
and  granddaughter,  the  first  two  on 
the  stage  and  the  latter  pi'eparing. 
Also  there  is  a  son  of  this  stage  fam- 
ily who  is  as  perfect  a  nut  perfected 
by  a  screen  experience  in  Hollywood 
as  the  town  could  boast.  Fredric 
March  plays  this  character  who 
would  be  a  nut  anywhere  even  with- 
out the  finishing  touches  of  contact 
with  Hollywood. 

To  Ina  Claire  as  the  daughter  go 
the  honors  of  the  story  and  its  op- 
portunities. But  there  are  moments 
when  as  quietly  and  yet  as  surely  the 
mantle  falls  from  the  shoulders  of 
this  fine  actress  and  across  those  of 
one  of  the  idols  of  the  stage  of  a  gen- 
eration ago. 

There  is  a  scene  that  particularly 
will  stand  out  as  one  of  the  most 
charming  sequences  of  the  picture. 
That  is  when  the  actress  who  was 
leading  woman  for  Charles  Frohman 
in  the  early  nineties  tries  to  convince 
her  successful  daughter  that  to  think 
of  leaving   the   stage   and    retiring  to 


Bebruary,  19-11 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-seven 


private  life  is  an  impossibility.  And 
for  the  final  clincher  of  the  argument 
she  is  conducting-  she  paints  the  reac- 
tions of  a  great  actress  as  she  enters 
the  theatre,  makes  her  preparations 
for  her  first  entrance,  and  finally 
faces  a  tumultuous  house. 

How  Daniel  Frohman  in  his  serene 
and  youthful  journeying  into  these 
later  years  of  a  useful  and  an  hon- 
ored life  must  smile — how  a  host  of 
other  old-timers  must  squirm — as  he 
and  they  note  the  billing  announcing 
the  cast  of  this  picture:  "  *  *  *  with 
Mary  Brian  and  Henrietta  Crosman." 

A  remarkable  team  is  that  of  Ina 
Claire  and  Henrietta  Crosman,  one 
the  screen  equal  of  which  is  not  re- 
called offhand.  The  work  of  Mary 
Brian  as  the  granddaughter  is  de- 
serving of  high  praise.  It  was  un- 
questionably a  tough  spot  into  which 
to  pitchfork  any  young  screen  player. 

Frank  Conroy  as  the  business  man 
lover  of  the  mother  gave  a  fine  per- 
formance, bringing  to  us  a  type  of 
mankind  that  if  any  one  could  per- 
form the  miracle  of  inducing  a  suc- 
cessful actress  to  retire  from  the 
stage  for  a  life  of  quiet  and  privacy  it 
would  be  of  that  sort.  Charles  Star- 
rett  is  the  young  man  who  for  a  while 
succeeds  in  keeping  the  granddaugh- 
ter from  the  stage — and  loses  out 
eventually. 

One  of  the  highlights  in  a  sterling 
cast  is  Arnold  Korff  as  the  manager 
of  grandmother  and  mother  and  who 
never  forsakes  the  idea  eventually  he 
will  entice  the  daughter  to  follow  the 
family  trail  to  the  stage — and  wins. 

Those  who  especially  are  attracted 
by  keen,  incisive  dialogue,  with  lines 
sparkling  and  searching  in  their  lit- 
erary quality,  will  enjoy  this  work  of 
Edna  Ferber  and  George  S.  Kaufman. 
George  Cukor  and  Cyril  Gardner  di- 
rect the  picture,  with  credit  to  them- 
selves and  to  the  enjoyment  of  those 
fortunate  persons  who  see  it. 

Fighting  Caravans 

Lee    Garmes,    Cameraman 

IN  SPITE  of  Paramount's  earnest 
and   palpable   efforts   to   build   an- 
other  "Covered   Wagon,"   even   to 
introducing  two   players   identical   in 
person  and  character  names,  there  is 
no  doubt  it  has  stubbed  its  toe. 

"Fighting  Caravans"  has  magni- 
tude as  a  production,  yes.  There  are 
formidable  spectacles,  finely  photo- 
graphed, and  many  striking  shots  of 
wild  and  picturesque  country — wagon 
trains  bumping  over  rugged  areas 
topped  with  deep  mud  or  snow,  the 
latter  if  anything  worse;  fording 
rivers;  pulling  wagons  uphill  or 
when  racing  downhill  trying  to  keep 
the  wagons  from  overrunning  the 
horses;  and  an  Indian  fight  in  which 
a  wagon  load  of  kerosene  is  set  afire 
in  the  middle  of  a  stream  to  prevent 
raiding  redmen  from  crossing  the 
river  and  wiping  out  the  party.  The 
latter  incident  carried  a  genuine 
thrill. 

The  Bill  Jackson  of  Ernest  Tor- 
rence  and  Jim  Bridger  of  Tully  Mar- 
shall as  we  saw  them  in  the  "Covered 
Wagon"  are  repeated  in  the  newer 
picture,  the   first   written   by    Emer- 


son Hough  and  the  present  one  by 
Zane  Grey.  The  two  old  scouts  come 
very  near  being  easily  the  actual 
stars  of  the  picture  and  certainly  do 
monopolize  a  large  share  of  atten- 
tion and  interest. 

The  bone  drys  sitting  on  censor- 
ship boards  probably  will  roll  their 
eyes  and  make  sundry  other  demon- 
strations of  horror  after  they  see  the 
drinking  bouts  of  these  two  lovable 
characters.  Since  playing  in  the  "Cov- 
ered Wagon"  Torrence  has  developed, 
at  least  for  the  present  occasion,  a 
broad  Scotch  brogue  which  it  is  a 
delight   to   hear. 

Very  likely  it  should  be  said  that 
he  has  not  developed  it,  but  rather 
that  it  seems  more  like  bringing  again 
into  action  a  language  of  younger 
days.  Certainly  it  never  was  acquired 
for   any  one   picture. 

The  romance  falls  to  Gary  Cooper, 
the  lead  of  the  picture,  and  Lilly  Da- 
mita.  It  is  the  weak  point  of  the 
story.  Somehow  the  spectator  has  a 
feeling  the  romance  probably  will 
work  out  all  right,  but  without  man- 
ifesting any  particular  concern 
whether  it  does  or  not.  There  is  more 
fun  in  following  Torrence  and  Mar- 
shall. 

Fred  Kohler  is  the  bad  man  of  the 
show  in  the  character  of  Lee  Mur- 
dock.  He  turns  the  wagon  train  over 
to  the  Indians,  or  comes  very  near 
doing  that.  Eugene  Pallette  is  pres- 
ent in  a  comedy  character  on  the  lines 
of  which  no  great  amount  of  thought 
seems  to  have  been  expended.  Roy 
Stewart  is  submerged  in  a  quiet  role 
as  the  trainmaster.  May  Boley  in 
charge  of  eight  chorus  girls  on  the 
way  to  Sacramento  provides  more  or 
less   amusement. 

Otto  Brower  and  David  Burton  di- 
rected the  picture.  Their  work  has 
been  well  done  and  under  exceedingly 
difficult  circumstances.  Edward  E. 
Paramore,  Jr.,  Keene  Thompson  and 
Agnes  Brand  Leahy  are  credited  with 
the  screen  play. 


The   Royal   Bed 

Lee  Tover,  Cameraman 

THERE  is  some  old-fashioned 
melodramatic  portrayal  in  "The 
Royal  Be  d,"  which  Lowell 
Sherman  has  directed  for  RKO  stu- 
dios. The  particular  exemplar  is 
Robert  Warwick,  characterizing  a 
forceful  premier  of  a  mythical  king- 
dom. Nance  O'Neil,  who  plays  the 
queen,  is  perfectly  frigid  and  ex- 
ceedingly domineering  in  her  inter- 
pretation. 

Possibly  after  all  there  was  method 
in  the  director's  planning  of  these 
two  characterizations;  that  the  en- 
tirely human  and  sympathetic  por- 
trayals of  himself  as  king  and  of 
Mary  Astor  as  the  princess  should 
stand  out  in  striking  contrast. 

Certainly  in  the  earlier  stages  of 
the  production,  in  those  periods  where 
the  queen  and  the  premier  create  the 
impression  they  are  running  the  coun- 
try as  well  as  the  show,  interest  in 
the  performance  by  the  spectator 
lags.  In  the  last  half,  wherein  the 
king  and  his  daughter  threaten  to 
come  into  their  own,  surely  the  cus- 


tomer begins  to  take  interest  in  the 
proceedings,  with  the  result  that  at 
the  conclusion  he  is  likely  to  expe- 
rience a  feeling  that  he  has  seen  a 
pretty  good   show  after  all. 

The  theme  of  the  tale  is  the  even- 
tual clash  between  a  democratic  king 
who  when  his  daughter's  happiness  is 
in  the  balance  between  her  own  choice 
of  a  husband  and  that  of  her  auto- 
cratic mother  declares  himself  and 
orders  matters  according  to  the  liking 
of  the  princess. 

Then  there  is  a  revolution  mixed  in 
with  the  political  intrigue,  and  that 
provides  occasions  for  mobs  and  ma- 
chine guns  and  more  or  less  damage 
to  a  swell  palace.  Right  here  is  a 
good  place  to  allude  to  the  art  direc- 
tion of  Max  Ree,  who  has  provided 
some  stunning  sets.  These  constitute 
one  of  the  major  factors  of  the  pic- 
ture and  will  duly  impress  average 
picture  house  clients  accustomed  as 
these   may   be  to   elaborate   settings. 

The  story  is  not  all  of  royalty  and 
costumes  and  things  of  that  sort.  The 
king  plays  checkers  with  one  of  his 
minor  palace  bowwows,  to  the  hu- 
miliation and  despair  of  the  queen. 
The  king  does  other  things  that  make 
for  entertainment.  To  sum  up  Sher- 
man is  very  much  in  the  limelight, 
which  directors  are  very  likely  to  be 
when  they  are  playing  in  their  own 
pictures,  but  in  this  instance  it  may 
be  said  successfully  so.  He  con- 
tributes  vastly   to   the   entertainment. 

The  love  scenes  turn  on  Mary 
Astor;  most  capably  and  charmingly 
does  she  portray  the  princess  rebell- 
ing against  the  auction  block.  Gilbert 
Emery  is  the  checker-playing  Phipps, 
Anthony  Bushell  the  successful  com- 
moner lover  and  Hugh  Trevor  the 
unsuccessful  princely  suitor  selected 
by  the  politicians. 

The  story,  by  the  way,  is  from  the 
play  of  the  same  name  by  Robert  E. 
Sherwood,  adapted  by  J.  Walter 
Ruben. 


Academy   Prints    Glossary 

For  Use  of  Technical  Men 

THE  introduction  of  sound  record- 
ing and  projection  into  the  mo- 
tion picture  industry  brought 
along  highly  specialized  terms  related 
to  electrical  and  radio  engineering, 
acoustics  and  other  fields.  To  make 
possible  a  general  understanding  of 
the  correct  usage  of  this  practically 
new  vocabulary  a  compilation  of 
technical  words  and  phrases  in  their 
specific  application  to  motion  pictures 
seemed  desirable  and  necessary. 

The  result  is  "A  Selected  Glossary 
for  the  Motion  Picture  Technician" 
issued  and  copyrighted  b"  the  Acad- 
emy of  Morion  Picture  Arts  and 
Sciences,  Hollywood,  to  serve  as  a  use- 
ful hanibook  for  the  studio  and  thea- 
tre worker. 

This  attempt  at  standardization 
was  undertaken  to  familiarize  studio 
workers  with  the  technical  terms  em- 
ployed in  their  own  work  and  in  other 
departments  with  which  they  come  in 
contact  as  an  asset  toward  increased 
efficiency  all  along  the  line.  The  price 
of  the  handbook  is  25  cents. 


Twenty-eight 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  1931 


Eastman  Plates  Create  Standards 


Hyperpress  and  Wratten  Hypersensitive  Made  for 

Stillmen  Who  in  Spite  of  Conditions  Must 

Bring-  Back  a  Real  Picture 


IMPROVEMENTS  in  sensitive 
photographic   materials   have   come 

fast  in  recent  years  and  they  have 
been  of  great  importance,  but  it  is 
believed  the  announcement  of  the  two 
new  plates,  Eastman  hyper-press 
(orthochromatic)  and  Wratten  hyper- 
sensitive panchromatic,  marks  the 
establishment  of  new  standards  in 
sensitive  materials. 

The  Eastman  hyper-press  is  an  ex- 
tremely fast  plate  for  use  under  con- 
ditions which  demand  the  fastest 
material  it  is  possible  to  obtain.  Its 
great  speed  fits  it  to  the  need  of  the 
motion  picture  still  man  or  press 
photographer  who,  regardless  of  light 
conditions,  must  get  a  picture  that 
still  can  be  used. 

But  it  is  equally  suitable  for  the 
commercial  photographer  who  is  con- 
fronted with  emergency  work — the  job 
which  can't  wait — the  scene  of  an 
accident  which  must  be  photographed, 
not  today,  but  now.  For  general 
speed  work  it  establishes  a  new 
standard. 

Much  of  the  work  of  both  the  press 
and  commercial  photographer  must  be 
made  with  artificial  illumination. 
And  since  all  artificial  light  contains 
a  lai'ge  proportion  of  red  it  is  neces- 
sary to  make  use  of  panchromatic 
material  to  secure  extreme  speed 
when  such  sources  of  illumination 
are  used. 


Panchromatic  materials  are  of  fair- 
ly recent  origin.  The  first  commer- 
cial panchromatic  plate  was  the 
Wratten  panchromatic,  placed  on  the 
market  in  London  in  1906.  Six  years 
later  this  plate  was  made  in  Roch- 
ester, and  since  that  time  the  use  of 
panchromatic  materials  has  become 
so  general  that  commercial  photog- 
raphy has  been  revolutionized. 

Speed    in    Daylight 

Now  comes  the  announcement  of 
the  Wratten  hypersensitive  panchro- 
matic plate.  It  is  a  radically  new 
product  characterized  by  extreme 
speed  and  by  great  red  and  green 
sensitiveness. 

On  daylight  exposures  this  plate 
has  great  sneed.  It  is  as  fast  as  those 
plates  in  which  no  attemnt  is  made  to 
obtain  color  sensitiveness. 

When  artificial  light  is  used  the 
great  sensitiveness  of  this  plate  to 
red  materially  increases  its  speed. 
So  when  exposures  must  be  made  by 
anv  kind  of  artificial  light  the  best 
possible  negative  will  be  secured  with 
minimum  exposure  on  the  Wratten 
h-->ersensitive. 

This  combination  of  speed  and 
color  sensitiveness  specially  fits  thi.3 
plate  to  press  and  other  types  of 
photography  where  flashlight  and 
other  forms  of  artificial  illumination 
are  necessary. 


MOVIOLA 

Film    viewing    and    sound    reproducing    ma- 
chines for  use  with: 

Separate  picture  film  and  sound  film, 
composite  film  and  sound  on  disc  record. 
For  editing  35  mm.  film,  16  mm.  film  and 
v/ide  film. 

Write    for   Circulars    Describing    the 
Different    Models 


MOVIOLA  COMPANY 

1451    Gordon  Street 
Hollywood,   California 


It  can  be  used  for  the  so-called 
"night"  photography  and,  with  large 
aperture  lenses,  instantaneous  ex- 
posures may  be  made  at  night  in  the 
streets  or  in  well  lighted  theatres. 
With  high  speed  lenses  and  small 
cameras  it  becomes  possible  to  make 
phr,+nn-rf)r,hs  at  "-^blic  gatherings, 
such  as  banquets,  without  the  use  of 
special  lighting. 

It  requires  no  great  stretch  of 
imagination  to  see  what  possibilities 
such  a  plate  offers  to  the  press 
photographer.  His  paper  wants  pic- 
tures, not  excuses,  and  the  Wratten 
hypersensitive  panchromatic  enables 
him  to  deliver  the  goods.  There  are 
many  other  uses  for  these  two  fast 
plates. 

"Reaches   Top   Speed" 

An  article  in  the  current  issue  of 
Editor  and  Publisher,  discussing 
recent  inventions  and  improvements 
in  materials  which  have  permitted 
news  photographers  to  secure  better 
pictures,  as  well  as  many  that  have 
hitherto  been  considered  impossible, 
has  the  following  to  say: 

"The  Eastman  Kodak  Company  has 
brought  out  a  new  supersensitized 
plate,  which  in  the  opinion  of  some 
picture  service  executives  has  'reached 
the  top  in  speed.'  For  many  years 
past  photo  services  have  been  using 
plates  imported  from  abroad  for  high 
speed  work  because  of  the  difficulty 
of  obtaining  domestic  plates  sensi- 
( Continued  on  Page  37) 


Advisory  Committee  Named 
By  659  to  Devise  Help  in 

Unemployment  Situation 

THE  executive  board  of  Inter- 
national Photographers,  Local 
659,  has  named  a  special  com- 
mittee of  fifteen,  of  which  Hal  Mohr 
is  chairman,  to  work  out  plans  to 
secure  for  members  of  the  organiza- 
tion every  possible  assistance  in  the 
alleviation  of  unusual  conditions  re- 
sulting from  the  unemployment  situ- 
ation and  also  to  discuss  and  advise 
upon  any  other  matters  which  may 
be  presented  to  it  by  the  board. 

Asked  by  the  board  to  make  the 
selection  the  special  committee  has 
named  John  Boyle  to  accompany 
Vice-President  Roy  H.  Klaffki  and 
Business  Representative  Howard  E. 
Hurd  to  the  east  coast  for  conferences 
with  the  presidents  of  the  five  Inter- 
national organizations  represented  in 
the  studios. 

Later  the  delegation  of  three  will 
confer  on  pending  matters  with  the 
International-Producers  committee  in 
New  York. 

The   special  committee  of  members 
is  composed  of  the  following: 
John  Boyle  Arthur  Miller 

Dan  Clark  Victor   Milner 

Arthur    Edeson        Hal  Mohr 
Alfred  Gilks  Hal  Rosson 

Roy  Hunt  John    Seitz 

Ray  June  Karl   Struss 

Oliver  Marsh  James  Van  Trees 

Gilbert    Warrenton 


f^Afc. 


@ream  oth Stills 


c^L'^ 


*/> 


Stepping   over  the   Mediterranean   and   journeying    to   the  Valley  of  the  Nile  we  are  introduced  by  Spoor 
and  Ahbe  of  Chicago  to  the  oldest  form  of  meal  ticket  in  the  world — yet  one  which  fignreth  not  in  the  mem- 
ory of  mam. 


C.^'CU. 


Qream  oth Stills 


.^'CU. 


Will  E.  Hudson  submits  this  photograph  of  the  Suiankang  Pagoda  us  a  particularly  good  specimen  of  Chi- 
nese handicraft.  It  is  situated  about  160  miles  out  of  Shanghai  and  was  erected  early  in  the  seven- 
teenth century.     Its  roof  is  of  tile  and  the  spire  of  bronze.   The  structure  is  a  combination  of  brick,  cedar, 

teak  wood,  plaster  and  cement. 


February,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-nine 


v^[mazeurJ)epartrnentx 

JVill  Manufacture  Wax  Records 


Hollywood  Film  Enterprises  Photographing  and 

Processing  Pictures  Three  Ways  Both 

16  and  35  Millimeters 


WHAT  is  believed  to  be  the  most 
completely  equipped  commer- 
cial sound  and  film  laboratory 
in  the  world  is  now  in  full  operation 
by  Hollywood  Film  Enterprises  in  its 
plant  in  Sunset  Boulevard.  In  addi- 
tion to  its  facilities  for  developing' 
and  printing  16  and  35  mm.  film  and 
for  reducing  the  wider  film  to  the  ama- 
teur size  the  company  has  installed 
a  most  complete  wax  recording  and 
manufacturing    plant. 

This  will  permit  a  customer  utiliz- 
ing the  sound-proof  stage  for  the 
making  of  a  subject  to  produce  a 
silent  picture,  a  sound  on  film  or 
sound  on  wax  or  a  combination  of  all 
three. 

The  company  will  specialize  in  elec- 
trical transcriptions  for  radio  broad- 
casts and  for  voice  testing.  A  special 
department  has  been  provided  for  this 
class  of  work,  with  elaborate  recep- 
tion rooms  for  the  accommodation  of 
patrons. 

The  sound  stage  is  about  60  by  60 
feet,  with  carpenter's  shop  adjoining. 
The  camera  and  recording  or  moni- 
tor room  is  placed  at  the  northeast 
corner  of  the  stage,  which  is  covered 
by  ten  windows  placed  in  a  quarter 
circle.     Ample    sound-proofing    mate- 


rial is  employed  between  the  two 
rooms  to  shut  out  all  noise  one  froni 
the   other. 

Program  of  16  mm.  Sound 

It  is  the  intention  of  the  company 
to  produce  a  program  of  16  mm. 
sound  pictures  synchronized  on  wax 
so  that  amateurs  may  project  them 
on  their  home  equipment.  Also  it 
will  accept  contracts  for  dubbing  from 
film  to  wax  or  vice  versa. 

For  the  accommodation  of  patrons 
the  company  has  provided  on  the  sec- 
ond floor  of  the  studio  besides  the  re- 
ception room  referred  to  a  16  mm. 
projection  room  and  six  dressing 
rooms. 

On  the  main  floor  a  waiting  room 
is  connected  with  the  studio  office. 
These  give  entrance  to  the  smaller 
recording  room,  with  piano  and  ample 
space  for  an   orchestra. 

Entering  the  Flexo  indestructible 
record  manufacturing  plant  there  are 
rooms  for  the  wax  shaving  machine 
and  for  the  wax  melter.  Also  in  ad- 
joining rooms  are  the  150-ton  hydrau- 
lic press  with  six  steam  tables  and  the 
six-leafed  lift  with  its  seven  and  a 
half   horsepower   motor. 

Each  of  these  leaves  represent  a 
pressure  of   25   tons,  the   volume   em- 


ployed for  a  four  or  five  inch  record, 
while  the  entire  works  are  used  for 
a  record  of  sixteen-inch  diameter. 

Copper  and  nickel  plating  tanks 
are  installed  for  the  making  of  the 
master  record.  In  the  recording  room 
is  a  large  electrically  heated  closet, 
thermostatically  controlled,  for  stor- 
age of  waxes  awaiting  recording. 

R.  L.  Warner,  a  son  of  the  inventor 
of  Flexo  records,  will  be  in  charge  of 
sound   recording. 

Direct   for   Home  Screen 

Reversing  the  long  established  rule 
of  providing  for  the  16  mm.  consum- 
ers pictures  that  have  completed  their 
tour  of  duty  on  the  theatrical  screen 
the  Hollywood  company  now  is  well 
into  production  on  a  series  of  twenty- 
four  short  sound  subjects  created  ex- 
clusively for  16  mm.  distribution. 
They  will  range  in  length  from  100  to 
400  "feet. 

These  will  feature  Jimmy  Adams, 
known  to  radio  followers  as  Lena, 
a  member  of  the  Happy  Ranch  Boys 
and  broadcast  over  the  KMT's  Happy 
Ranch  hour.  This  group  also  is  being 
broadcast  over  the  Pacific  Coast  net- 
work on   sponsored  programs. 

The  16  mm.  films  will  be  simultane- 
ously recorded  on  Flexo  records.  So 
far  as  known  these  will  constitute  the 
first  16  mm.  sound  pictures  ever  made 
for  the  home  market  direct. 

Hollywood  Film  Enterprises  is  one 
of  the  pioneers  in  the  field  of  16  mm. 
subjects. 


1.    Wax   shaving    machine.     2.    150-ton   hydraulic   press   for    the    making    of    Flexo    indestructible    records.     William 
Horsley,  president  Hollywood  Film  Enterprises,  looking  at  finished  product.   ■!.  Motor  and  lift  operating  hydraulic  press. 


Thirty 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  1931 


Eyemo  Plays  Star  Part  in  Filming 
Seal  Hunters  Among  Breaking  Ice 


TO  the  many  striking  achieve- 
ments of  the  Bell  &  Howell 
Eyemo  semi-professional  cam- 
eras must  now  be  added  the  outstand- 
ing and  almost  indispensable  part 
which  one  of  them  recently  played  in 
the  filming  of  an  Arctic  picture  which 
was  turned  over  to  Paramount  for 
release. 

This  picture  is  based  upon  the  lives 
of  North  Atlantic  fishermen  engaged 
in  the  hazardous  sealing  industry.  It 
was  taken  by  an  expedition  under  the 
direcion  of  Varick  Frissell,  youthful 
producer  and  explorer,  and  it  is  in- 
teresting to  learn  that  the  Eyemo 
which  served  the  expedition  so  not- 
ably was  included  in  the  ecompany's 
$30,000  worth  of  movie  equipment 
almost  as  an  afterthought. 

The  work  of  the  sealers  who  figure 
in  the  picture  is  done  on  the  Arctic 
ice  floes  drifting  south  each  summer 
off  the  coast  of  Labrador.  These  floes 
consist  of  broken  fields  of  ice,  heaving 
and  twisting  as  the  great  Atlantic 
swells  and  rolls  underneath. 

The  hunters  approach  the  seals 
rapidly,  on  the  run,  often  leaping 
from  ice  cake  to  ice  cake,  and  mem- 
bers of  the  Frissell  expedition  had  to 
follow  on  the  sealers'  course  as 
quickly  as  possible  if  they  were  to 
capture  vivid  and  realistic  pictures. 

It  was  quickly  discovered  that  with 
the  ice  so  broken  up  as  to  challenge 
even  the  agility  of  the  light-footed 
sealers  it  was  impossible  to  accom- 
plish the  necessary  rapid  transporta- 
tion of  standard  camera  equipment, 
due  to  its  weight  and  bulk,  but  the 
light  Eyemo,  with  its  tripod  attached, 
could  be  swung  over  long  open  leads 
of  water  and  caught  without  impair- 
ing its  ability  to  photograph  a  picture 
of  standard  production  quality. 

As  the  hunters  were  running  to- 
ward the  seals  members  of  the  Fris- 


sell expedition  would  follow.  When 
open  water  was  encountered  which 
defied  leaping  without  the  use  of  all 
fours  the  Eyemo  would  be  grasped  by 
the  end  of  the  tripod,  and,  by  a  long 
pendulum  swing,  could  be  sent  flying 
over  the  water  into  the  arms  of  an- 
other member  of  the  company,  and 
so  relayed  up  the  line  into  the  center 
of  action,  where  it  was  quickly  put  to 
work. 

It  was  inevitable  that  sooner  or 
later  some  one  would  miscalculate  in 
the  performance  of  this  ritual.  So  it 
came  about  that  one  bright  day  the 
Eyemo  found  its  way  to  the  bottom 
of  the  ocean,  but  not  before  it  had 
succeeded  in  obtaining  some  of  the 
most  valuable  shots  made  by  the  mem- 
bers of  the  expedition.  Scenes  of 
action  in  the  midst  of  the  vast  seal 
herds  are  now  a  part  of  the  Frissell 
picture. 


Victor  Announces  New  3-G 

Non-Theatrical   Projector 

WITH  the  general  adoption  of 
the  16  mm,  film  and  motion 
picture  projectors  for  practi- 
cally all  non-theatrical  uses,  intense 
screen  illumination  has  become  a  fea- 
ture of  vital  importance  in  the  more 
highly  developed  equipments. 

The  lamp  manufacturers  have  ex- 
pended every  effort  toward  devising  a 
projection  lamp  of  the  greatest  pos- 
sible efficiency.  The  latest  accom- 
plishment in  this  direction  is  the  250- 
watt,  20-volt,  T-10  size  lamp  which 
was  just  recently  placed  on  the 
market. 

This  low  voltage  lamp,  however,  can 
be  satisfactorily  used  only  in  connec- 
tion with  a  special  transformer  for 
100-120-volt,  50-60  cycle,  A.  C.  opera- 
tion. 

The  new  model  3-G  Victor  cine-pro- 
jector has  a  special  transformer  built 


New  model  -3-G  Victor  cine  projector, 
250-watt,  20-volt,  T-10  size  lamp, 
with  a  highly  perfected  optical  system 

into  the  base,  which  permits  the  250- 
watt,  20-volt  lamp  to  be  used  with  the 
utmost  efficiency  and  with  maximum 
lamp  life. 

To  provide  for  use  of  the  3-G  Victor 
cine-projector  in  communities  where 
50-60  cycle  alternating  current  is  not 
available  a  "changeover"  system  of 
wiring  has  been  utilized  which  per- 
mits the  transformer  to  be  cut  out  by 
removing  one  attachment  plug  and 
changing  the  location  of  another.  The 
projector  may  then  be  operated  on 
any  100-120  volt  direct  or  alternating 
current.  The  No.  10  Victor  lamp 
rheostat  also  may  be  attached  to  per- 
mit the  use  of  the  165-watt,  30-volt 
high  intensity  lamp. 

Another  feature  of  the  model  3-G  is 
a  highly  perfected  optical  system 
which  utilizes  as  much  as  possible  of 
the  light  emitted  by  the  source. 

Mechanically  the  3-G  Victor  cine- 
projector  is  identical  to  the  widely 
known  model  3. 

In  appearance  the  3-G  differs  from 
the  Victor  model  3  only  in  that  it  has, 
in  place  of  a  pedestal  base,  a  recep- 
tacle base  in  which  the  transformer  is 
housed.  This  new  base  adds  beauty 
and  character  to  the  projector,  making 
it  an  attractive  as  well  as  efficient  in- 
strument. 


Monitor  room  taken  from  stage.     2.  Left  to  right,  recording  table,  amplifier,  playback  table  with   both  ■13,j  and  78 

r.p.m.,  and  miming  panel. — Hollywood  Film  Enterprises  Studio. 


February,  19-11 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-om 


How  16mm.  Hurdles  Over  Radio 


Winnetka    Store    Finds    in    Second    Year 
Department  Shows  50  Per  Cent  More 
Return  Than  Older  Line 


New 


EARLY  in  1929,  just  to  supplement 
its  radio  business  during-  the 
summer,  the  Radio  Service  Shop 
of  Winnetka,  111.,  decided  to  install 
16  mm.  motion  picture  equipment  in 
its  store.  The  concern  had  been  in 
business  seven  years  and  was  pros- 
pering, but  there  was  a  belief  on  the 
part  of  the  two  partners  by  introduc- 
ing amateur  cameras  and  projectors 
it  would  tend  to  equalize  the  volume 
of  their  business  through  the  twelve 
months. 

William  M.  Crilly,  one  of  the  part- 
ners, had  dabbled  in  16  mm.  stuff  for 
some  time  in  a  recreational  way.  He 
had  become  something  of  a  fan  and 
had  acquired  a  goodly  bit  of  informa- 
tion as  to  just  what  made  the  wheels 
go  around. 

Mr.  Crilly  is  in  Los  Angeles  with 
his  family,  making  a  visit  of  a  few 
months,  his  first  visit.  An  Interna- 
tional Photographer  man  met  him  at 
the  plant  of  the  Hollywood  Film  En- 
terprises, where  he  was  being  shown 
the  works  by  Walter  W.  Bell,  man- 
ager of  the  cine  department,  and  Wil- 
liam Horsley,  the  boss.  As  the  Illinois 
visitor  mentioned  installing  the  16 
mm.  department  the  Photographer 
man  casually  inquired  as  to  how  the 
scheme  worked  out. 

Stone  the  Builder  Rejected 

"Rather  surprisingly,"  replied  Mr. 
Crilly.  "Our  figures  for  1930,  the  sec- 
ond year  of  the  new  department, 
showed  it  did  60  per  cent  of  our  en- 
tire business.  So  you  may  judge  for 
yourself  as  to  whether  or  not  we  are 
pleased  with  the  result  of  our  own 
idea." 

Practically  all  of  the  film  handled 
by  the  Radio  Shop  is  of  the  16  mm. 
size.  There  have  been  a  few  notable 
exceptions,  one  of  these  being  the 
4000-foot  subject  in  35  mm.  film  de- 
signed to  demonstrate  to  any  one  it 
might  concern  just  what  kind  of  a 
town  Winnetka  is  and  what  the  tax- 
payers of  this  progressive  village  of 
12;000  souls  receive  in  the  way  of  mu- 
nicipal benefits  frcm  the  money  they 
spend  in  taxes. 

Town  Has  Own  Equipment 

The  developing  and  printing  were 
done  by  Burton  Holmes  Lectures,  Inc., 
of  Chicago,  as  well  as  the  making  of 
the  735  feet  of  titles  inserted  in  the 
subject.  The  picture  already  in  its 
influence  has  reached  out  of  its  imme- 
diate community.  Only  recently  H.  L. 
Woolhiser,  village  manager,  of  techni- 
cal training  along  engineering  lines, 
showed  it  in  Springfield,  111.,  to  a  con- 
vention of  village  managers  where  it 
aroused  much  interest. 

Locally  it  has  been  shown  in  the 
community   hall  to   all   of  the   organ- 


izations in  the  town.  It  has  aroused 
particular  interest  when  exhibited  to 
the  men's  clubs,  to  the  Rotarians, 
Lions  and  Kiwanians  among  others. 

Another  instance  recently  when  35 
mm.  film  was  used  was  in  taking  pic- 
tures of  the  induction  into  office  of 
the  nine  members  of  the  village  coun- 
cil and  their  ^resident.  The  stage  was 
lighted  by  lamps  supplied  by  the  Ra- 
dio Shop. 

The  resulting  pictures,  as  well  as 
those  on  35  mm.  taken  by  the  Rev. 
Mr.  ("Chief")  Davies  of  the  camps  of 
the  Boys  and  Girls'  Scouts  during  the 
summer,  are  shown  at  the  community 
house.  The  equipment  for  taking  and 
showing  these  pictures  is  owned  by 
the  community,  consisting  among 
other  factors  of  a  De  Vry  camera, 
with  tripod,  and  portable  projector, 
costing  in  its  entirely  about  $1500. 

While  there  is  no  theatre  in  the 
town,  the  place  of  one  is  taken 
largely  by  the  community  house,  for- 
merly used  as  a  church. 

Kiddies  Strong  for  Chaplin 

In  the  community  hall  also  are 
shown  pictures  for  children  at  stated 
periods,  the  subjects  being  selected 
with  especial  attention  to  the  audience 
that  will  attend.  An  admission  is 
charged,  although  the  project  is  of 
the  non-profit  order.  Westerns  are 
great  favorites  with  the  young  pic- 
turegoers — and  also  are  those  featur- 
ing Charles  Chaplin. 

Asked  as  to  what  methods  he  em- 
ployed to  reach  his  clients  when  he 
wished  to  acquaint  them  with  some- 
thing worth  while,  he  said  he  used 
simply  a  postcard,  something  which 
might  be  read  without  even  the  ac- 
companying trouble  of  opening  an  en- 
velope. No  attempt  was  made  to  dis- 
guise the  fact  it  was  frank  advertis- 
ing, and  he  had  found  the  plan  to 
work  out  successfully.  These  cards, 
perhaps  500  in  number,  are  sent  to 
well-to-do  clients  in  territory  between 
Evanston  and  Highland  Park,  as  well 
as  in  Winnetka.  The  system  also  has 
proved  satisfactory  in  converting 
prospects  into  customers. 

Regarding  the  rental  situation  as 
he  found  it  Mr.  Crilly  said  it  was  his 
belief  that  it  is  better  to  have  no 
library  than  a  poor  one.  The  reaction 
is  bound  to  be  bad  where  a  client 
learns  a  picture  he  is  seeking  is  not 
available,  especially  where  the  same 
situation  obtains  in  the  case  of  a  sec- 
ond or  third  choice.  The  inevitable  re- 
sult is  that  a  customer  goes  to 
another  store  and  takes  his  patronage 
with  him. 

C.  H.  Affeldt  is  the  other  partner  of 
the  Radio  Shop.  Mr.  Affeldt  gives  his 
special  attention  to  the  radio  business 


of  the  company  while  Mr.  Crilly  looks 
after  the  photographic  customers. 

No  one  can  talk  a  quarter  of  an 
hour  with  Mr.  Crilly  without  being 
impressed  with  the  fact  that  Win- 
netka is  a  mighty  fine  town  in  which 
to  live — that  it  has  an  abundance  of 
civic  pride,  and  justifiably  so;  that  it 
has  a  citizenship  composed  of  men  and 
women  who  aim  to  make  it  not  only 
a  home  for  themselves  but  for  those 
who  come  after  them,  their  own  chil- 
dren among  them. 

And  the  interviewer  gets  the  im- 
pression also  that  Winnetka  is  fortu- 
nate in  counting  among  its  municipal 
possessions  the  Radio  Service  Shop 
and  the  men  who  conduct  it. 


Textbook   Answers   Many 

Questions   of   Amateurs 

In  the  1931  Filmo  Catalog,  just 
issued  by  Bell  &  Howell,  will  be 
found  interesting  discussions  on  such 
subjects  as  why  color  filters  are  used, 
the  principles  of  exposure,  and  when 
and  why  to  use  a  tripod.  Among 
other  topics  treated  in  a  popular  but 
authoritative  manner  are  artificial 
lighting  for  indoor  pictures,  titling, 
editing  and  screening. 

There  is  a  discussion  on  speed 
lenses,  with  a  short  section  on  the 
Filmo  optical  system  for  Kodacolor 
projection.  The  catalog's  listing  and 
description  of  amateur  products,  in- 
cluding many  new  accessories,  should 
be  of  value  to  anyone  who  owns  or 
expects  to  own  a  16  mm.  camera  or 
projector. 

Among  the  new  products  included 
is  the  Filmophone,  a  portable  16  mm. 
sound  reproducer.  The  book  is  well 
illustrated  and  should  prove  of  value 
to  the  amateur.  It  will  be  sent  free 
on  request. 


Bell    and    Howell    Catalogue    Cover 


Thirty-two 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  1931 


When  Industry  Calls  on  16mm. 


Mitchell  and  La  Rue  Tell  Machine  Shop  Men  How 

Amateur  Camera  May  Solve  Problems 

and  Increase  Factory  Output 

By  R.  FAWN  MITCHELL  and  M.  W.  LA  RUE 

of   Bell   and   Howell   Company 

Read  Before  the  Machine  Shop  Practice  Division,  American 
Society  of  Mechanical  Engineers,  in  New   York 


PROGRESSIVE  factory  managers 
are  awake  to  the  vital  necessity 
of  their  watching  every  opera- 
tion and  effecting  every  economy  that 
will  cut  down  their  overhead  and  im- 
prove their  output.  After  all  is  said 
and  done,  a  factory  is  the  essence  of 
motion,  so  that  it  is  not  surprising 
that  a  motion  picture  camera  has 
found  much  favor  in  assisting  factory 
managers  to  solve  many  of  their  prob- 
lems, mechanical,  training  and  re- 
search. 

Pictures  of  intimate  phases  of  man- 
ufacturing operations  are  used  by 
salesmen  to  convince  the  prospect  of 
the  care  used  in  making  the  equip- 
ment and  provide  a  very  effective 
selling  talk.  However,  the  principal 
interest  in  this  paper  will  be  confined 
to  those  uses  of  motion  pictures  that 
more  directly  touch  upon  factory 
managers'  peculiar  problems. 

A  close  community  interest  among 
employes  is  an  invaluable  asset  to  any 
business,  and  a  tremendous  number  of 
manufacturers  are  using  motion  pic- 
tures within  their  organization  to  pro- 
mote this  interest. 

In  conjunction  with  clubs  of  vari- 
ous kinds,  activities  outside  of  work- 


ing hours,  and  in  self-government 
projects,  motion  pictures  grasp  the  in- 
terest and  the  imagination  of  the  em- 
ploye, giving  him  a  sense  of  actuality 
of  the  thino-  before  him. 

For  general  entertainment  employes 
frequently  enact  movie  plays  them- 
selves, exhibiting  their  screen  prowess 
to  fellow  employes  at  regular  meet- 
ings. A  tremendous  number  of  sub- 
jects can  be  leased  or  rented  from  the 
many  libraries  of  motion  picture  film 
located  in  practically  every  town  of 
any  importance  throughout  the  United 
States. 

Two  Big  Questions 

Now  to  consider  the  practical  adap- 
tation of  movies  to  production  prob- 
lems in  the  shop  there  are  two  natu- 
ral questions  that  will  be  asked. 

1.  How  can  motion  pictures  be  used 
to  solve  any  particular  problem  ? 

2.  What  is  the  most  economical 
method  of  securing  results,  what  is 
the  cost,  etc.  ? 

Most  of  you  here  assembled  are  far 
more  experienced  in  time  and  motion 
study  than  the  authors.  We  do  not 
wish  to  create  the  impression  that  we 
are  authorities  on  the  subject.  How- 
ever, at  our  own  factory  in  Chicago 


Time  clock  is  here  shown  in  connection  with  camera  in  time  and  motion  study 
work.     Courtesy  Movie  Makers. 


we  have,  to  some  extent,  studied  the 
application  of  the  motion  picture  cam- 
era to  various  phases  of  factory  pro- 
duction, and  time  and  motion  study 
have  engaged  the  attention  of  a  num- 
ber of  our  engineers. 

Motion  study  men  tell  us  that  mo- 
tion study  is  not  a  speeding-up  proc- 
ess. On  the  contrary,  it  seeks  to  find 
the  one  best  way  of  doing  a  job,  which 
is  usually  the  easiest  way. 

For  instance,  Bill  is  engaged  in 
punching  out  blanks  on  a  punch  press. 
George  and  Harry  are  at  adjoining- 
machines  performing  exactly  the  same 
operation.  Bill  consistently  turns  out 
more  pieces  than  does  either  of  the 
others.  Bill,  therefore,  must  have  a 
better  method  of  performing  his 
work.  After  study  it  is  found  that  Bill 
employs,  say,  four  motions  to  do  the 
job,  while  Harry  and  George  use  six. 

Obviously,  George  and  Harry  should 
be  shown  how  they,  too,  can  increase 
their  output,  improve  their  work,  in 
order  that  they  may  increase  their 
earnings  and  decrease  their  labor. 

Stop  Watch  and  Camera 

A  competent  engineer  with  a  stop 
watch  can  make  time  studies  and  mo- 
tion studies  and  return  to  his  office 
with  figures  which  when  anlyzed  can 
be  used  to  definite  advantage.  If  we 
add  a  motion  picture  camera  to  the 
stop  watch  we  can  then  make  a  micro- 
motion study  of  the  operation  to  be 
analyzed,  and  the  engineer  not  only 
has  his  stop  watch  readings,  but  a 
visual  record  of  the  entire  operation 
synchronized  with  the  time  element. 
This  can  be  reviewed  time  and  time 
again,  with  the  assurance  that  the 
personal  element,  in  the  use  of  the 
stop  watch,  is  also  eliminated. 

To  make  a  micro-motion  study  the 
operation  to  be  analyzed  is  photo- 
graphed, including  in  the  field  a  mi- 
crochronometer  or  stop  watch  if  de- 
sired. There  is  a  type  of  micro- 
chronometer  now  on  the  market  which 
operates  by  a  synchronous  motor 
which  is  ideal  for  the  purpose.  By  re- 
cording photographically  the  move- 
ments of  the  operation  and  the  move- 
ment of  the  clock,  time  may  be  re- 
corded to  within  .002  of  a  minute. 

With  the  recent  improvements  in 
camera  design  for  the  16  mm.  ama- 
teur film,  motion  study  work  is  made 
particularly  easy.  Among  the  most 
recent  improvements  in  camera  de- 
sign of  tremendous  value  to  the  ana- 
lyst are  the  turret  head  and  the  criti- 
cal focusing  device.  The  use  of  lenses 
of  varying  focal  length  permits  the 
placing  of  the  camera  in  such  a  way 
as  not  to  interfere  with  the  routine 
performance  of  the  operator  or  opera- 
tion and  enables  the  picture  to  be 
made  right   in   the   shop. 

Of  particular  importance  is  the  fact 
that  such  cameras  are  obtainable  with 
a  range  of  various  speeds  that  per- 
mits photographing  an  operation  in 
normal  sneed  and  then  turning  around 
and  photographing  the  same  in  semi- 
slow  motion.    The  speed  of  the  cam- 


February,  1931  The    INTERNATIONAL    PHOTOGRAPH 


E  R 


Thirty-three 


era  can  be  adjusted  to  the  speed  of 
the  operation  so  that  the  action  can 
be  slowed  down  just  enough  to  facili- 
tate analyzing  the  action  without 
slowing  it  down  so  much  that  the  es- 
sential sequence  or  rhythm  of  the 
operation  as  a  whole  is  lost  sight  of. 

Doing  Away  with  Clock 

For  simpler  operations  it  is  possi- 
ble to  do  away  with  the  clock  by  run- 
ning the  film  through  the  camera  at 
a  constant  speed.  Thus  if  the  film 
passes  through  the  gate  at  1000 
frames  per  minute,  the  elapsed  time 
between  any  two  frames  is  .001  min- 
ute. An  element  of  motion  occupying 
two  feet  of  film  or  80  frames  must 
have  taken  .08  minute  to  perform. 

Thus  the  camera  alone  is  made  to 
fulfill  both  functions.  The  highest 
class  of  spring'-driven  cameras  now 
available  can  be  considered  accurate 
to  within  about  two  per  cent.  This  is 
satisfactory  for  quite  a  large  number 
of  operations. 

Probably  the  most  satisfactory 
method  of  doing  this  type  of  work  is 
to  include  the  clock  in  the  picture  area 
as  sug'gested  previously.  This  permits 
individual  analysis  of  each  frame  so 
that  the  exact  time  elapsed  for  each 
portion  of  an  operation  can  be  deter- 
mined accurately.  At  the  end  of  the 
paper  will  be  given  references  to  ar- 
ticles describing  different  methods  of 
doing  this  work  for  those  interested 
in  following  it  up. 

At  this  point  we  would  like  to  make 
brief  mention  of  some  of  the  special 
types  of  machines  now  in  common  use, 
such  as  weaving  machines,  folding 
machines,  and  other  automatic  equip- 
ment handling  complicated  operations. 

Everyone  knows  how  easy  it  is  for 
these  machines  to  get  out  of  order 
and  also  everyone  knows  how  hard  it 
is  to  place  one's  finger  on  the  exact 
cause  of  the  difficulty.  Here  the  super- 
possible  to  take  slow  motion  pictures 
of  extended  length  with  professional 
cameras. 

However,  there  is  available  a  com- 
pact, spring-driven  camera  operating 
at  the  same  speed  as  the  professional 
camera — namely,  128  pictures  per 
speed  camera  proves  its  value.  It  is 
second,  giving  a  picture  length  of 
about  five  or  six  seconds. 

Ordinarily  this  is  sufficient  time  to 
analyze  the  usual  run  of  such  opera- 
tions so  that  one  can  readily  follow  on 
the  screen  happenings  which  are  too 
fast  for  the  human  eye  correctly  to 
analyze.  The  action  is  slowed  down 
eight  times  by  taking  pictures  at  this 
speed.  By  slowing  down  the  projector 
this  can  be  slowed  down  still  further, 
though  naturally  this  is  not  recom- 
mended unless  the  circumstances  ren- 
der it  imperative. 

Pride  of  Workmanship 

Satisfactory  movies  taken  of  intri- 
cate operations  tie  up  very  nicely 
with  ordinary  time  and  motion  study. 
By  their  aid  employes  can  be  shown 
the  importance  of  different  phases  of 
an  assembly  very  quickly  and  very 
vividly. 

It  helps  materially  in  enabling  them 
to  appreciate  the  importance  of  their 
particular  part  of  the  job  in  the  whole. 


If  the  average  employe  is  able  to  ap- 
preciate just  how  much  his  fellow 
worker  has  to  rely  on  his  workman- 
ship it  is  not  a  hard  idea  to  sell  the 
employe  the  importance  of  exercising 
sufficient  care  to  have  the  pride  of 
workmanship  necessary  to  turn  out  a 
good  job. 

An  interesting  example  of  the  use 
of  pictures  for  this  type  of  work  is  to 
be  found  in  the  telephone  companies. 
These  companies  train  switchboard 
operators  not  only  in  the  actual  ma- 
nipulation of  plugs,  but  also  in  the 
understanding  of  the  circuit  and  the 
complicated  wire  traffic  which  they 
never  see. 

Automobile  manufacturers  train 
dealers  in  correct  servicing  methods, 
how  to  perform  the  various  types  of 
service  in  the  most  approved  factory 
manner. 

Aeroplane  companies,  motor  compa- 
nies and  practically  every  type  of 
manufacturer  can  use  motion  pictures 
in  analyzing  and  for  training.  There 
is  no  operation,  process,  or  routine  of 
any  nature  but  what  can  be  taught 
better  by  movies. 

Correlating  Many  Factories 

The  Genei'al  Electric  Company  has 
developed  an  interesting  side  line  to 
pictures  originally  designed  for  the 
purpose  of  internal  instruction.  These 
films  are  sent  to  other  factories  and 
help  more  than  anything  else  to  en- 
able branch  managers  in  different 
countries  to  correlate  their  produc- 
tions with  that  at  the  main  factory. 

It  was  soon  found  that  there  were 
numerous  requests  for  permission  to 
show  these  films  to  high  schools,  uni- 
versities, etc.  Naturally,  films  shown 
under  these  conditions  to  budding-  en- 
gineers, etc.,  had  a  material  sales 
value  that,  if  anything,  was  even  more 
effective  because  they  were  not  de- 
signed to  act  as  a  selling  film. 

In  conclusion,  we  would  like  to  men- 


tion a  few  thoughts  on  the  possibili- 
ties of  motion  pictures  for  research 
work.  Possibly  the  average  factory 
manager  is  not  primarily  interested  in 
pure  research,  but  there  are  many 
things  which  it  is  desirable  for  him 
to  find  for  certain.  For  instance,  in 
order  to  check  the  qualities  of  his  lu- 
bricating oil,  motion  pictures  taken 
through  the  microscone  have  been 
found  very  valuable. 

These  pictures  also  can  be  taken  in 
color,  as  the  color  of  the  oil  often 
acts  as  a  guide  to  its  other  qualities 
and  in  this  manner  a  permanent  rec- 
ord is  kept  which  is  valuable  for  fu- 
ture reference.  All  engineers  are 
familiar  with  the  value  of  still 
photographs  taken  through  the  mi- 
croscope showing  steel  structure. 

Control  of  Lights 

Motion  pictures  taken  of  similar 
subjects,  say  under  strain,  etc.,  are 
providing  information  of  great  value 
as  to  the  action  of  different  steels 
under  different  types  of  stresses.  The 
same  thought  obviously  can  be  ap- 
plied to  other  metals,  alloys,  etc. 

There  is  a  convenient  titling  device 
known  as  the  Character  Title  Writer, 
designed  primarily  for  amateur  mo- 
tion picture  fans  making  their  own 
titles.  By  simply  folding  down  the 
title  card  holder  on  this  unit,  a  most 
convenient  device  is  available  for  the 
photographing  of  small  parts. 

Lights  are  provided  on  the  unit  and 
a  compensating  device  is  also  pro- 
vided which  automatically  focuses  the 
lens  and  takes  care  of  the  offset  of 
the  viewfinder  so  that  you  see  ex- 
actly the  field  that  you  are  photo- 
graphing and  have  every  assurance 
that  you  are  getting  the  picture  with- 
out difficulty.  The  value  of  such  a 
convenient  unit  for  many  types  of 
work  is  self-evident. 

It  only  costs  a  few  cents  to  take  a 
few  feet  of  film   showing  certain  op- 


Making  a    time  and  motion   study  of  factory   operation    with    In   mm.   camera 
calibrated  to  register  the  time  element. 


Thirty-four 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  1931 


Table  of  Artificial  Lighting  Data 

Distance  of  Filmo  Camera  from  Subject 
With  1"  F  1.8  Lens    With  1"  F  3.5  Lens 


HALLDORSON   LIGHTING  Wide  < 

UNITS  EMPLOYED  Panchro. 

Film 
Feet 

1  arc  lamp,  1  reflector 11 

1  1000-watt  light,  1  reflector.  .  8 

1   1500- watt  light,  1  reflector.  .  6 

1  arc  lamp,  1   1000-watt  light, 

reflectors    15 

2  1000-watt  lights,  reflectors.  .         10 

1  1000-watt   light,    1    500-watt 

light,   reflectors 9 

2  500-watt  lights,  reflectors ...  8 

erations.  Usually  one  of  the  promis- 
ing apprentices  in  a  shop  is  an  ama- 
teur photographer  and  with  practically 
no  training  at  all  a  very  satisfactory 
picture  can  be  taken  with  one  of  these 
small  cameras  and  a  couple  of  lights. 

At  the  end  of  this  paper  will  be 
given  a  table  showing  the  number  of 
lights  necessary  at  different  distances 
with  different  lenses  on  the  camera. 
These  figures  cover  ordinary  condi- 
tions. Some  sort  of  a  photometer  or 
exposure  meter  is  really  desirable,  but 
the  table  will  give  a  close  approxima- 
tion that  should  help  those  interested 
in  taking  their  own  pictures. 

The  16  mm.  amateur  size  film  is 
comparatively  cheap,  so  that  if  the 
results  are  not  satisfactory  the  first 
time  they  can  be  shot  over  without 
inconvenience  or  more  than  the  loss 
of  a  couple  of  dollars'  worth  of  film. 
Therefore,  there  is  every  inducement 
for  the  factory  manager  to  investi- 
gate the  possibilities  of  this  new  tool. 
In  fact,  it  is  desirable  that  they  do 
more  than  investigate — that  they  ap- 
ply it  to  their  problems. 

Sufficient  work  has  been  done  along 
this  line  so  that  it  is  possible  to  state 
without  equivocation  that  motion  pic- 
tures provide  a  most  effective  means 
for  a  factory  manager  to  improve  his 
production,  to  train  his  employes,  and 
to  do  research  work  where  records — 
in  motion — are  available  for  compar- 
ison at  a  later  date.  It  is  trite  to 
point  out  the  importance  of  compar- 
ing records;  every  manager  does  that 
regularly.  How  much  more  important 
is  it  to  compare  records — in  motion — 
where  the  time  element  is  as  impor- 


•pen 

Wide 

Open 

Current 

Ortho. 

Panchro. 

Ortho. 

Drawn 

Film 

Film 

Film 

in 

Feet 

Feet 

Feet 

Amperes 

10 

7 

6 

20 

7 

5 

4 

9 

5 

4 

3 

4% 

13 

10 

8 

29 

9 

7 

6 

18 

8 

6 

5 

13  y2 

7 

5 

4 

9 

tant  if  not  more   important  than  the 
mechanical  factors  involved? 

NOTE.— The  above  table  is  calcu- 
lated upon  the  following  assumptions: 

(1)  That  the  walls  and  ceilings 
have  average  reflecting  power,  that  is, 
white  ceilings,  medium  toned  walls. 

(2)  That  no  daylight  or  other  addi- 
tional light  than  average  home  illu- 
mination (which  has  negligible  actinic 
value)  falls  upon  the  subject. 

(3)  That  the  subjects  are  clothed 
in  medium  colors — neither  white  nor 
very  dark. 

(4)  That,  in  the  arc  lamp,  regular 
carbons  are  used  with  orthochromatic 
film  and  panchromatic  carbons  with 
panchromatic  film. 

For  photographing  machinery  add 
50  per  cent  to  100  per  cent  more 
light. 

References:  Factory  and  Industrial 
Management.  June,  1930,  "The  Movie 
Camera,  an  aid  in  the  search  for  the 
'one  best'  method" — Allan  Mogen- 
sen,  assistant  editor;  July,  "Operation 
Analysis  with  the  Motion  Picture 
Camera" — M.  A.  Dittmar,  Ph.D.,  as- 
sistant general  manager,  Lehn  & 
Fink;  September,  "Training  Time 
Study  Men" — Allan  Mogensen;  Octo- 
ber, "Micro-Motion  Study  Applied  to 
the  Manufacture  of  Small  Parts" — R. 
M.  Blakelock,  wage  rate  department 
General  Electric  Company;  November, 
"We're  Not  Experts  in  Micro-Motion 
Techniaue  but  We're  Learning  Fast" 
— F.  J.  Van  Ponpelen,  Cadillac  Motor 
Car  Company,  Detroit;  July-August, 
International  Review  of  Educational 
Cinematography  (published  by  League 
of  Nations,  Education  Cinemato- 
graphic  Institute). 


Chancellor   Completes    Two 

Reels  Showing  Big  Lizards 

PHILIP  CHANCELLOR  is  now  in 
Hollywood  engaged  in  editing 
films  photographed  on  the  two 
Chancellor-Stuart  Field  Museum  ex- 
peditions conducted  during  the  last 
year  and  a  half.  The  laboratory  work 
is  being  done  at  the  plant  of  Holly- 
wood   Film    Enterprises. 

Two  1000-foot  reels  have  reached 
the  stage  of  preliminary  showing. 
These  are  devoted  entirely  to  pictures 
of  the  varanus  komodensis,  or  lizard, 
the  securing  of  which  was  the  main 
objective  of  the  expeditions.  The 
film  shows  the  animals  in  groups  at 
times   of   three   as   thev   come   out   of 


the  jungle  to  tackle  the  bait  prepared 
for  them.  The  animals  photographed 
ranged  in  length  from  7  to  9  feet  and 
weighed  about  300  pounds. 

Strangely  enough,  as  the  pictures 
show,  the  lizards  will  outrun  a  man. 
Eleven  in  all  of  these  were  captured, 
three  of  which  were  prepared  for 
mounting  for  the  Field  Museum  in 
Chicago,  where  they  now  are.  All  of 
the  pictures  were  shot  on  35  mm. 
film. 

The  scene  of  the  capture  of  these 
animals  was  Flores  Island,  between 
Java  and  Australia.  Chancellor  is 
planning  to  return  this  summer  to  the 
Pacific  islands  on  another  explora 
tory  expedition  sponsored  by  the  Field 
Museum. 


Bell  and  Howell  Issues  a 

Still    Camera    Photometer 

THE  Bell  &  Howell  still  camera 
photometer,  just  announced,  is 
an  exposure  meter.  It  is  bas- 
ically the  same  as  the  Bell  &  Howell 
photometer  for  Filmo  movie  cameras, 
but  is  especially  calibrated  to  meet 
the  requirements  of  the  still  photog- 
rapher, whether  he  is  a  beginner  or  a 
highly  advanced  amateur  or  profes- 
sional. 

The  essential  features  of  the  orig- 
inal photometer,  including  its  con- 
venient size,  its  light  weight  of  about 
five  ounces,  and  its  three  dials  are  all 
retained.  There  is  the  same  simple 
procedure  of  looking  directly  through 
the  instrument  at  the  object  to  be 
photographed,  matching  an  electric 
filament  with  the  brilliancy  of  the 
subject,  and  then  making  an  exposure 
reading  direct  from  the  dial  system 
without  guesswork  or  calculation. 

As  in  the  movie  photometer,  the 
exact  exposure  of  any  portion  of  a 
subject  can  be  readily  determined,  so 
that  the  range  of  contrasts  of  any 
view  can  be  arrived  at  with  exactness. 

The  still  camera  photometer  is  cali- 
brated to  a  range  of  shutter  speeds 
and  exposure  times  from  32  seconds 
to  1/1000  of  a  second  and  to  lens 
stops  of  from  F  1  to  F  32. 

A  tremendously  important  factor  in 
still  photography  is  that  the  effective 
photographic  speeds  of  the  different 
types  of  plates  and  films  vary  much 
more  than  the  films  used  for  motion 
picture  work.  Therefore,  a  dial  has 
been  calibrated  in  this  new  photom- 
eter so  that  the  instrument  can  be 
quickly  set  to  compensate  for  what- 
ever speed  of  plate  or  film  may  hap- 
pen to  be  used. 

The  same  dial  also  carries  another 
set  of  calibrations  to  facilitate  quick 
compensation  for  filters  of  various 
strengths.  The  photometer  obviously 
covers  all  lenses,  all  plates  or  films, 
and  all  conditions  of  illumination  that 
are  ordinarily  met  with  in  still  work. 


Mole-Richardson   Supplies 

Lights  for  French  Plant 

Mole  -  Richardson  studio  lighting 
equipment  is  known  all  over  the  world 
and  is  practically  standard  in  all  the 
American  studios.  Recently  the  com- 
pany received  a  large  order  for  24-in. 
Incandescent  Sun  Spots  from  the 
Cinestudio  Continental,  Saint  Mau- 
rice, France,  which  is  controlled  by 
the  Paramount  Publix  Corporation. 

So  far  the  Mole-Richardson  Com- 
pany has  not  had  any  direct  Euro- 
pean representation;  but  I  hear  that 
the  concern  is  now  affiliated  with 
VenrecO,  Ltd.,  of  London,  the  stage 
lighting  specialists.  This  will  enable 
the  latter  company  to  manufacture 
studio  lighting  equipment  from  Mole- 
Richardson  designs. 

VenrecO,  Ltd.,  will  also  act  as  rep- 
resentatives and  sales  agents  for 
Mole-Richardson,  Inc.,  in  England 
and  on  the  Continent.  Mr.  Mole  state's 
that  this  connection  will  greatly  in- 
crease the  sale  of  Mole-Richardson 
products  in  international  fields. — F.  F. 
in  Bioscope,  London. 


February,  19  31 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-five 


Now  Operations  Are  Photographed 


Wisconsin  Surgeon  Explains  How  Best  Results 

Are  Secured  by  Placing-  Camera  and  Lights 

Directly  Over  Patient 

By  RICHARD  B.  STOUT,  M.D. 

Of  Jackson   Clinic   of  Madison,    Wis.,    in    The 
Journal  of  the  American  Medical  Association 


masks  the   red   portion   of   the    Koda- 
color  filter. 

For  our  particular  work  a  little 
better  color  rendition  was  obtained 
by  removing  the  ratio  diaphragm 
entirely  and  covering  a  portion  of 
the  red  side  of  the  filter  with  a  piece 
of  black  lantern  slide  binder. 


SURGICAL  practice  lends  itself 
admirably  to  the  taking  of  motion 
pictures  to  perpetuate  the  tran- 
sient phases  of  operative  technic. 
Unfortunately,  many  difficulties  con- 
front a  cameraman  who  may  want  to 
photograph  an  operation  in  progress. 
First  of  all  the  surgeons  cannot  be 
inconvenienced  by  the  intrusion  of 
photographic  equipment.  In  any  case 
the  cameraman  is  kept  so  far  away 
from  the  sterile  field  that  his  film 
usually  records  more  elbows  and 
backs  than  it  does  the  operation. 

To  record  what  the  surgeon  sees 
and  does  the  camera  is  best  placed 
somewhere  above  the  patient  but  far 
enough  away  not  to  interfere  with 
the  surgeons  or  nurses.  The  accom- 
panying illustration  shows  how  a  16 
mm.  Filmo  camera  was  attached  to  a 
regular  Operay  light,  which  may  be 
conceded  as  being  one  of  the  most 
logical  positions  for  it.  To  do  this  an 
iron  ring  was  fastened  between  the 
main  lens  of  the  lamp  and  frame. 
This  ring  was  made  with  a  projecting 
piece  to  which  the  Filmo  camera  was 
fastened. 

Remote   Control  Necessary 

As  the  camera  was  then  out  of 
reach  a  remote  control  was  necessary, 
and  a  solenoid  electromagnet  was  de- 
signed which  could  be  fastened  over 
the  release  button  on  the  camera  and 
controlled  by  a  foot  switch.  This 
solenoid  was  made  by  winding  a  small 
brass  tube  in  which  a  small  soft  iron 
armature  was  attached  to  the  upper 
end  by  a  spring. 

When  the  switch  is  pressed  the 
armature  is  pulled  down,  operating 
the  starting  button  and  permitting 
the  taking  of  single  frames  or  longer 
exposures  at  will.  The  surgeon  or 
his  assistant  may  thus  be  the  cam- 
eraman and  take  only  the  important 
steps  of  the  operation. 

Lighting  an  Operation 

As  the  camera  spring  must  be  re- 
wound if  more  than  25  feet  of  film  is 
to  be  exposed,  the  rewind  device, 
shown  in  the  illustration,  was  made. 
The  shaft  of  a  4-inch,  V-grooved  pul- 
ley was  fitted  to  the  winding  key 
socket  of  the  camera.  Several  turns 
of  fine  piano  wire  were  taken  around 
it  and  passed  through  a  one-fourth 
inch  flexible  copper  tube  to  a  smaller 
wheel  with  a  crank  attached.  A 
nurse  may  thus  rewind  the  camera 
as  necessary,  from  a  distance. 

Satisfactory  black  and  white  pic- 
tures may  be  taken  at  F  4.5  by  the 
illumination   of   the   ordinary   operat- 


ing light,  but  for  Kodacolor  pictures 
a  considerable  amount  of  auxiliary 
illumination  is  necessary. 

Eight  small  automobile  spotlights 
were  fitted  with  double  filament  32-32 
candlepower  8-volt  bulbs,  all  of  which 
were  connected  in  series  and  attached 
to  the  operating  light  by  the  arms 
shown. 

The  series  of  auxiliary  lights  were 
then  connected  in  multiple  with  the 
electromagnetic  camera  release  and 
both  controlled  by  the  foot  switch  and 
operated  on  the  110-volt  lighting  cur- 
rent. Heat  generated  by  the  lights 
during  the  thirty  to  sixty  second 
"shots"  ordinarily  taken  is  not  ob- 
jectionable. The  low  voltage  lamps 
used  generate  far  less  heat  than  the 
regular  type  of  lamp,  so  that  water 
cooling  is  unnecessary. 

The  light  emitted  by  incandescent 
lights  has  more  red  and  yellow  in  its 
composition  than  daylight,  so  allow- 
ance has  to  be  made  accordingly 
when  Kodacolor  pictures  are  to  be 
taken.  This  can  be  taken  care  of  by 
reversing  the  ratio  diaphragm  that 
comes  with  the  film  so  that  the  part 
that   ordinarily    masks    the   blue   now 


Florida  Journal  Printing 

Tales  by  Esselle  Parichy 

IN  ITS  issue  of  Sunday,  January 
18,  the  Miami  (Fla.)  Daily  News 
in  its  rotogravure  section  carried 
an  entire  page  of  camera  studies  of 
Santo  Domingo  contributed  by  Esselle 
Parichy,  International  Photographers. 
This  is  but  the  first  of  a  series  of 
pictures  and  incidentally  stories  as 
well  our  fellow-member  will  photo- 
graph and  write  for  the  Miami  jour- 
nal. The  succeeding  number  told  th? 
story  of  a  trip  to  the  West  Indies. 

This  magazine  extends  its  congrat- 
ulations to  the  Miami  Daily  News  on 
its  new  contributor.  If  it  already  has 
not  so  learned  it  very  shortly  will 
that  there  are  photographers  who 
also  possess  the  gift  of  graphic  de- 
scription. Some  of  these  cameramen 
have  not  yet  made  the  discovery,  but 
eventually  the  knowledge  will  be  con- 
veyed to  them  by  competent  as  well 
as  impartial  critics. 


A  Film  Club  has  been  instituted 
in  Brunn  (Czechoslovakia),  com- 
prising all  branches  of  the  Czecho- 
slovak film  industry;  producers,  dis- 
tributors, exhibitors,  scenario  writers, 
etc. 


Making  Kodacolor  pictures  of  a  surgical  operation 


Thirty-six 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  1931 


1 

Hi            *  ^ 

1 

if^              ^^ '              M^Hk. 

HKA\  . J^^k  |£3a^ 

1 

^^^^H 

.7.  L.  Herrmann  at  the  Ray-Belt  studio  makes  sound  record  of  the  proceedings 
of  amateur  Twin  City  magicians,  among  the  events  being  the  exemplification 
of  the  doll  house  illusion — wherein  the  young  woman  shown  here  is  lifted  out 

of   the  miniature   cottage. 

When  Amateur  Magicians  Perform 
They  Make  Sound  Screen  Record 


THE  coming-  of  sound  has  opened 
up  new  avenues  of  usefulness 
for  pictures,  as  is  illustrated  by 
the  program  arranged  for  a  recent 
meeting  of  the  Twin  Cities  branch  of 
the  Society  of  American  Magicians. 
The  organization  is  composed  of 
business  men  who  indulge  in  feats  of 
magic  as  a  hobby.  Among  the  mem- 
bers of  this  particular  branch  is  Carl 
Jones,  owner  of  the  Minneapolis 
Journal;  Dr.  John  Taft,  leading- 
physician  and  surgeon,  and  George 
Foster,  a  manufacturer  of  cosmetics. 

The  meeting  of  the  branch  was 
held  on  one  of  the  stages  of  Bay-Bell 
Films,  Inc.,  and  was  photographed 
by  J.  L.  Herrmann  of  Paramount 
Sound  News,  and  recorded  by  George 
L.  Graham.  Messrs.  Ray  and  Bell 
not  only  turned  over  their  studio  to 
Mr.  Herrmann — and  that  included 
everything,  from  lamps  to  props — 
but  they  pitched  in  themselves. 

The  set-up  in  the  accompanying- 
still  picture  represents  what  is  known 


as  the  doll  house  illusion.  Mr.  Foster 
started  the  proceedings  with  a  little 
doll  not  more  than  five  inches  in 
heighth.  Gradually  but  very  steadily 
the  dolls  kept  getting  larger.  The 
climax  came  when  the  young  woman 
shown  in  the  picture  was  helped  out 
of  the  tiny  house  by  Mr.  Foster. 

Mr.  Herrmann  sends  word  from 
Messrs.  Ray  and  Bell  that  the  latch- 
string  is  out  for  any  International 
Photographer  from  the  north  or  east 
or  west  to  make  their  studio  his  head- 
quarters   while   visiting    Twin  Cities. 

The  studio  is  situated  at  817  Uni- 
versity avenue,  St.  Paul,  and  has 
three  floors  of  well-equipped  dark- 
rooms, with  a  choice  either  of  arc  or 
incandescent  lamps  on  the  stages. 

Local  666  members  affiliated  with 
Ray-Bell  Films  are  R.  H.  Ray,  C.  E. 
Bell,  H.  W.  Cress,  H.  C.  Oslund, 
B.  O.  Foss,  F.  R.  Arver  and  J.  Pavel. 
Soundman  Graham  also  is  a  member 
of  the  Chicago  organization.  "A  fine 
bunch  of  fellows,"  says  Herrmann. 


16  mm.   Film  Runs   19,300 

Times   Before   Scrapping 

A  16  MM.  film  was  run  through  a 
Filmo  projector  19,300  times 
before  the  film  could  be  consid- 
ered in  such  a  state  that  it  should  be 
thrown  aside  as  practically  useless. 
Despite  the  fact  that  this  film  was 
run  in  a  regular  projector  with  a 
single  tooth  shuttle  drive  careful 
measurement  with  a  measuring  micro- 
scope indicated  identical  wear  on  the 
perforations  on  both  sides  of  the  film. 

This  test  goes  to  prove  that  in  the 
long  run  the  principal  wear  is  at  the 
sprockets  and  not  at  the  aperture. 
This  might  be  considered  due  to  the 
fact  that  the  sprocket  teeth  necessari- 
ly enter  the  perforations  with  a  more 
or  less  rolling  motion  which  would  in 
time  tend  to  chip  the  film,  whereas 
the  shuttle  tooth  has  a  perfect  recti- 
linear motion,  entering  the  perfora- 
tions at  right  angles  and  starting  to 
move  very  slowly  with  a  constant  ac- 
celeration. 

At  the  latter  portion  of  the  stroke 
the  acceleration  decreases  in  like  pro- 
portion and  the  shuttle  tooth  leaves 
the  perforation  at  right  angles. 

Most  persons  do  not  show  their  pet 
films  more  than  twice  a  week.  At 
this  rate  these  films  can  be  shown 
twice  a  week  for  190  years.  There- 
fore there  seems  little  cause  to  fear 
that  the  most  valuable  amateur  films 
need  ever  be  worn  out  as  long  as  a 
good  projector  is  kept  in  reasonably 
good  condition  and  the  film  also  kept 
in  reasonably  good  condition  by  the 
use  of  humidors  and  proper  storing. 


Advance  in  Slereoscopy 

A  further  claim  to  have  solved  the 
problem  of  stereoscopy  has  now  been 
made  by  Continsouza,  the  French 
projector  manufacturer,  now  part  of 
the  Gaumont  concern.  Nevertheless, 
in  its  present  stage  the  invention  is 
only  effective  with  one  spectator. 

A  film  made  on  this  new  principle 
was  shown  in  natural  colors  and  pro- 
jected through  a  new  type  of  appa- 
ratus. Continsouza  claims  that  it  will 
be  able  to  put  the  perfect  three  dimen- 
sional projector  on  the  market  in  the 
near  future. 


The  directors  of  Copenhagen  the- 
atres have  decided  that  within  con- 
tract limits,  artists  employed  on  their 
stages  will  not  be  allowed  to  act  in 
sound    films. 


Mitchell  and  Bell  &  Howell  Cameras 

Sales  and  Rentals 

For    Rent Three    Mitchell    sound    cameras    complete,    including    two     1,000-ft.    magazines 

with  each  camera  at   regular   camera    rental. 
For    Sale — -Bell     &     Howell     cameras    complete    and     in     first     class    condition.       Prices    on 

application. 


J.  R.  LOCKWOOD 


GRanite   3177 
Phone 


1108    North    Lillian    Way 
Hollywood,    California. 


Cable    Address 
"Lockcamera"    Hollywood 


February,    1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Th  irty-seven 


Fast  Eastman  Plates 

(Continued  from  Page  28) 

tive  enough  to  record  swift  action 
shots.  The  new  Eastman  plate, 
however,  a  picture  agency  executive 
declared,  is  faster  than  anything 
manufactured  abroad. 

"When  a  photographer  speaks  of  a 
'fast  plate'  he  means  a  plate  on 
which  the  emulsion  is  sensitive 
enough  to  record  a  scene  in  the  frac- 
tion of  a  second  during  which  the 
shutter  of  his  camera  is  open.  For 
average  newspaper  work  the  shutter 
works  at  about  one  one-hundredth  of 
a  second. 

"On  clear  days  action  shots  of  foot- 
ball games  or  races  can  be  taken  at 
a  speed  of  one  five-hundredths  of  a 
second,  but  the  result  depends  on  the 
sensitivity  of  the  plate.  Light  and 
shadow  make  all  the  difference  in  the 
world  to  a  news  photographer.  He 
may  shoot  plays  in  the  first  half  of  a 
football  game  in  sunlight  at  one  one- 
hundredth  of  a  second,  and  in  the  last 
quarter  with  fading  light  he  may 
have  to  use  a  speed  of  a  fiftieth  of  a 
second. 

"For  this  reason  cameramen  usual- 
ly carry  two  kinds  of  plates  on  such 
assignments.  The  new  Eastman  plate 
is  looked  upon  as  a  means  of  getting 
the  fullest  effectiveness  out  of  new 
high-speed    cameras." 

Some  of  the  pictures  made  with 
these  plates  have  been  so  unusual 
that  mention  of  the  new  material  has 
been  considered  a  part  of  the  news 
interest  of  the  pictures.  Captions 
have  stated  that  the  pictures  were 
made  with  a  new  plate  which  does 
not  require  a  flash  or  other  form  of 
supplementary  light. 

Eastman  hyper-press  is  wonder- 
fully fast  and  efficient  for  all  forms 
of  outdoor  work  in  daylight.  The 
press  photographer  can  never  take  a 
chance  on  failing  light  for,  rain  or 
shine,  he  must  produce  pictures  that 
his  paper  can  use. 

He  uses  a  small  camera  with  the 
fastest  lenses  obtainable,  and  he 
must  have  as  fast  a  plate  as  can  be 
made.      His    greatest    problem,    how- 


VllMMbitjf 


The  Rev.  Bernard  Hubbard,  S.J.,  clergyman-explorer,  with  Eyemo  camera  in 
the  Aniakchak  crater  in  Alaska.  It  as  the  first  time  a  motion  picture  camera 
has  been  taken  into  the  largest  active  crater  in  the  world,  being  twenty-one 

miles  in  circumference. 


ever,  has  been  night  pictures.  It  is 
here  tat  even  the  fastest  plate  falls 
off  in  speed  because  all  artificial  light 
contains  a  large  proportion  of  color 
other  than  blue,  and  practically  all 
extremely  high  speed  plates  are 
totally  blind  to  red  and  very  little 
sensitive  to  green  and  yellow. 

The  logical  solution  of  this  prob- 
lem was  an  extremely  fast  panchro- 
matic plate,  sensitive  to  all  colors, 
and    this    plate    has    been    produced. 

As  speed  and  color  sensitiveness 
are  increased,  however,  as  they  have 
been  in  these  plates,  precautions  also 
must  be  increased  to  protect  their 
great  sensitiveness  against  light  dur- 
ing loading  and  unloading  holders 
and  in  development. 

The  hypersensitive  panchromatic 
should    be    handled    in    perfect    dark- 


ness when  possible  and  under  no  cir- 
cumstances should  it  be  exposed  to  a 
red  light.  If  the  Series  3  green 
Wratten  safelight  is  used  it  is  best 
not  to  expose  the  plate  to  its  light 
until  he  image  is  well  formed. 


WEBB-DOUGLAS 
PRODUCTIONS 

Completing 

"AIR  POLICE" 

for    Sono-Art-World-Wide    Release 
Directed   by   Stuart  Paton 
Harry  Webb  Supervising 


ROY  DAVIDGE  FILM 
LABORATORIES 

An  Exclusive  "Daily" Laboratory 


6701-6715 


Quality   and   Service 

SANTA     MONICA 
GRanite    3108 


BOULEVARD 


Thirty-eight 


The    INTERNATIONAL    PHOTO 


G  R  A  P  H  E  R 


February,  1931 


Front   and  rear  angle   views  of  new 
Mole-Richardson   Integral   Inkie 


Mole-Richardson  Places  on 

Market  Its  Integral  Inkie 

Mole-Richardson,  Inc.,  designers 
and  manufacturers  of  incandescent 
equipment  for  set  illumination,  an- 
nounce a  new  product,  the  Integral 
Inkie.  This  lamp  is  generally  con- 
ceded by  those  experienced  in  set 
lighting  to  be  one  of  the  most  satis- 
factory units  of  its  type  for  set  light- 
ing purposes. 

With  the  introduction  of  noiseless 
recording  a  demand  has  arisen  for 
noiseless  lighting  equipment.  The 
Integral  Inkie  meets  this  demand,  it 
is  claimed,  since  it  has  been  so  de- 
signed that  no  parts  are  used  in  its 
construction  which  produce  expan- 
sion noises  when  the  equipment  is 
switched  on  and  expanding  with  the 
heat  from  the  Mazda,  globe. 

The  head  of  the  Integral  Inkie  is 
designed  of  one  single  aluminum  alloy 
casting.  The  housing,  mirror,  dome, 
ventilator,  light  baffles,  lamp  trough, 
switch  box  and  trunion  plates  are 
one  integral  piece. 

This  lamp  head  is  cast  from  a  spe- 
cial silicon  aluminum  alloy  known  in 
the  trade  as  No.  43.  Castings  from 
this  alloy  differ  from  ordinary  alum- 
inum castings  in  that  if  they  are  bent 
or  deformed  they  can  be  easily 
straightened.  In  case  lamps  of  the 
new  type  are  damaged  by  falling 
from  the  parallels  or  by  being 
knocked  over  they  can  be  repaired  by 
ordinary  workmen  without  excessive 
cost. 

Another  feature  of  this  alloy  is 
that  it  is  one  of  the  lightest  of  the 
aluminum  alloys,  being  7  per  cent 
lighter   than    those   customarily    used. 

The  few  additional  parts  to  this 
lamp,  such  as  the  slide  rods,  mirror 
ring,  etc.,  have  been  designed  to  have 
unrestricted  movement  which  allows 
them  to  expand  freely  without  pro- 
ducing any  sound. 

For  the  Integral  Inkie  the  manu- 
facturer claims  it  is  noiseless  from 
the  time  it  is  switched  on,  that  it  is 
sturdy  and  strong,  the  total  weight 
of  the  complete  unit  being  6QV2 
pounds,  and  that  it  is  a  convenient 
lamp  to  handle  when  rigging  the  set. 

Mole-Richardson  already  have  the 
18-inch  and  24-inch  sun  spots  of  the 
new  type  in  production. 


Bell  and  Howell  photometer  for  still 
camera 

Lyons   Writes   Technical   Terms 

Reginald  E.  Lyons  of  International 
Photographers  has  contributed  to  the 
forthcoming  Webster's  Dictionary 
about  1,000  words  defining  technical 
terms  and  slang  regarding  the  mo- 
tion picture  camera.  He  will  be  so 
credited  in  the  big  book. 

Lyons  has  been  21  years  in  the 
motion  picture  business. 


King  Charney  says . . . 

WHETHER  IT  BE  CARBON  OR  INCANDESCENT  LIGHTING 
WHETHER  IT  BE  TALKIES  OR  SILENT 


Insist 
Upon 


j4 


Negative 


For  definite  results 

AGFA  RAW  FILM  CORPORATION 


February,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty -nine 


Trueball 
Tripod  Heads 


MODEL  B 

Their  use  for  follow  shots 
assures  smooth  operation, 
having  an  equal  tension  on 
all  movements.  Also,  their 
action  is  unaffected  by 
temperature. 

Fred  Hoefner 

Cinema  Machine   Shop 

5319   Santa   Monica   Blvd. 

GLadstone  0243  Los  Angeles 


MELROSE 
Trunk  Factory 

UNION  MADE  Camera 

Cases  for 
UNION  CAMERAMEN 

UNION   MADE  Camera  Num- 
ber Boards 


Trunk  and  Luggage  Repairing 
Our  Specialty 


Automobile  Trunks,  Sample  and 
Make-Up  Cases  to  Order 

GLadstone  1872     646  N.  Western 
LOS  ANGELES,  CALIF. 


vj<isn . . . 


For  professional  Bell  & 
Howell  and  DeBrie  cameras. 
Send  full  description  for  cash 
offer.  Or  telegraph  Bass 
Camera  Company,  179  West 
Madison  street,  Chicago, 
Illinois. 


With  Compliments 
Earl    (Curly)    Metz 

Assistant  Cameraman 


James  E.  Woodbury 

Portrait  and   Commercial 
Photographer 

GRanite  3333     5356  Melrose  Ave. 
Los  Angeles,  Calif. 


Turn  your  scrap  film  and  short 
ends  into  cash 

HORSLEY  CHEMICAL 
COMPANY 

1123  Lillian  Way      GLadstone  5490 
Hollywood 


Dr.  G.  Floyd  Jackman 

DENTIST 

Member   Local   No.    659 

706    Hollywood    First    National   Bldg. 
Hollywood  Blvd.   at   Highland   Ave. 

GLadstone  7507  Hours:    9  to  5 

And    by   Appointment 


CAMERAS,  LENSES 

BOUGHT,  SOLD 

EXCHANGED,  REPAIRED 

RENTED 


27" 


WE  SELL 

ZEISS    •    IKON     .     GRAFLEX 
NAGEL    •    VOIGTLANDER 

FILMO    -    VICTOR 
CINE    KODAK      •      LEICA 

ESTABLISHED  191 1 


AT,    3S*  *.  BROAIWVAY 

MUtual  4S&9 


Cinex  Testing  Machines 
Cinex  Polishing  Machines 


Developing   Machines 

Printing  Machines  rebuilt   for 

Sound  Printing 

Special  Motion  Picture  Machine 

Work 

Barsam  -  Tollar 
Mechanical  Works 

7239  Santa  Monica  Blvd. 

Hollywood,  California 

Phone  GRanite  9707 


The   new   "Local   659"   emblem. 
Small,  chic  and  attractive.     Or- 
der from  your  Secretary  or  direct 
from  manufacturers. 

J.  A.  Meyers  &  Co. 

822  South  Flower  Street 

The   largest  jewelry   factory 

in  the  West 
Diamonds — Watches — Jewelry 


Phone  GLadstone  4151 

HOLLYWOOD 
STATE  BANK 

The  only  bank  in  the  Industrial 

District  of  Hollywood  under 

State   supervision 

Santa    Monica    Boulevard    at 
Highland  Avenue 


ILTEHS, 


iraJun  ("WntviM  mi  HHaMOtats  in  ttepKnK- 
FtqSmm-  MfawiTwia  rod  m»y  >thir  fffnts. 

cAste  youp  dealep.  or  ujpite  to 

GEORGE  H.  SCHEIBE 

PHOTO-FILTER  SPECIALIST 


Ferry 


The    INTERNATIONAL    PHOTOGRAPHER 


February,  1931 


Wishing  everyone  success  for  theNewYear 

VERNON  L.  WALKER 

Specializing  in 

PROCESS 
Miniature,  Trick  and  Unusual  Shots 


Address  601  West  Fairmont,  Glendale,  Calif. 
DO.  5032-R  HE.  1128 


CLASSIFIED 


W.  A.   SICKNER 

FIRST   CAMERAMAN 

COMPLETE 

AKELEY 
EQUIPMENT 

CRestview7255     GLadstone  5083 
HEmpstead  1128 


Kenneth  Peach 

Special  Effects 


FRED  JACKMAN 

W.  R.  -  F.  N. 


Alvin  Wyckoff 

Multicolor 


Aerial  Photography 

WM.  H.  TUERS 


GR.  9097 


HE.  1128 


J.    N.    Giridlian 

SECOND    CAMERAMAN 
STerling    1293  TErrace   9152 


FOR   SALE— Cameras— Mitchell,   Bell   &   How- 
ell,   Akeley ;    lenses    and    accessories    of    all 
kinds ;    new    and    used.     HOLLYWOOD    CAM- 
ERA  EXCHANGE,    1511    Cahuenga   Boulevard. 

FOR     RENT— Three     Mitchell     cameras,     high 
speed  movements.     1000  ft.  magazines.    J.  R. 
Lockwood,   1108   N.   Lillian  Way.     GR.   3177. 

MITCHELL  high-speed  Camera  No.  225.  Van 
Rossem.   6049  Hollywood   Blvd.     HO   0725. 

FOR  SALE— Bell  &  Howell  Cinemotor.  Used 
one    picture.     $175.     J.    R.    Lockwood.     1108 

N.   Lillian  Way.    GR  3177. 

MISCELLANEOUS 

WANTED— FROM    GLOBE-TROTTING    CAM- 
ERAMEN     FILM      OF     FOREIGN     COUN- 
TRIES.      ADDRESS      REX      GORDON,      1215 
JUNE  ST.,  HOLLYWOOD.    PHONE  GR  6933. 

SAVE  25  to  50%  on  Voigtlander,  Zeiss,  East- 
man and  Grafiex  Cameras.  Hundreds  of 
new  and  used  bargains  to  choose  from.  All 
guaranteed  for  one  year.  Also  Cameras  re- 
paired, rented,  bought  for  cash,  exchanged  at 
Peterson's  Camera  Exchange,  356  S.  Broad- 
way.    Upstairs    entrance    Room    321. 


FOR  RENT 

Mitchell  with  Speed  Movement 
complete.  Five  matched  and  cali- 
brated lenses. 

4,  3,  2,  40  and  35  Pan  Tachar 
2  1000  ft.  and  4  400-ft.  magazines 
1  Gear  box  and  shaft 
1   Baby  tripod  and  high  hat 

Glenn  R.  Kershner 

Culver  City  3154 


ELMER  G.  DYER 

HE8116-HE1128 


Walter  J.  Van  Rossem 

PHOTOGRAPHIC   LABORA- 
TORY. 
MITCHELL    CAMERA    No.    225, 

COMPLETE,  FOR  SALE 

HOlly  0725      6049  Hollywood  Blvd. 

Hollywood,  California 


Art  Reeves 
Cliff  Thomas 


Phone 
HOIIywood    9431 


y<AMim 

IX0HANQE 


The  Clearing  House 

for  Cameramen 

Mitchell  and  Bell  &  Howells    FOR  RENT 

Cameras   and   Projectors   and 
Accessories   bought   and   sold 

Commercial  Photography 


1511    N.    Cahuenga    Blvd. 

HOLLYWOOD,   CALIFORNIA 


Kodak  Supplies 


Still  Finishing 


16  mm.,  35  mm.  Developed  and  Printed 


r25 


MARCH    •    NINET 


THIRTY-  ONE  m 


*EG.  U.S.  PAT. OFF 

Presents 

A  New 

High  Speed  Panchromatic  Negative 

Retaining  the  Same 

Color  Balance,  Fine  Grain, 
and  Latitude 

Of  the  Former  Product 
The  Extreme  Sensitivity  Allows 

A  Material  Reduction  in  Lighting 


"A  Comparative  Test  Will  Convince" 


SMITH  6c  ALLER.  Ltd. 

6656  Santa  Monica  Boulevard  HOllywood  5147 

Hollywood,  California 

Pacific  Coast  Distributors 

For 

DU  PONT  PATHE  FILM  MFG.  CORP. 

35  West  45th  Street  New  York  City 


March,  1931  n«INTERNATIONALPHOTOGRAPHER  One 


BELL  &  HOWELL  CAMERAS 
FOR  COLOR 


AN  ADAPTATION  of  the  famous  Bell  &  Howell  pilot  pin  intermittent 
X  A_  mechanism,  readily  interchangeable  with  the  regular,  ultra  speed,  or 
silenced  mechanisms,  makes  any  Bell  &  Howell  Camera  a  color  camera 
for  any  of  the  Bi-Pack  processes.  Convertibility  of  the  camera  for  color 
from  monochrome,  and  vice  versa,  is  accomplished  at  a  moment's  notice. 

The  new  mechanism  is  so  constructed  that  the  focal  plane  of  the  Bi-Pack 
films  (which  are  run  emulsion  to  emulsion)  is  in  exactly  the  same  position 
as  the  focal  plane  of  the  black  and  white  film  in  the  regular  mechanisms. 
There  is  no  necessity  for  any  change  or  adjustment  on  the  camera  itself — 
the  focusing  ground  glass  is  left  in  the  standard  position. 

COOKE  SPEED-PANCHRO   LENSES 

The  new  Cooke  Speed-Panchro  lenses  are  also  ideal  for  Bi-Pack  color  proc- 
esses, as  correction  of  the  chromatic  aberration  is  extended  to  the  red 
portion  of  the  spectrum.  For  the  same  reason,  these  lenses  are  especially 
efficient  for  use  with  incandescent  lighting  and  panchromatic  films,  while 
they  retain  full  correction  for  orthochromatic  film  and  ordinary  lighting. 
The  Speed-Panchro  series  has  the  F2  opening.  For  use  where  speed  is 
not  paramount,  a  Panchro  series  with  an  F  2.5  opening  is  offered,  with 
correction  identical  to  the  Speed-Panchro  series.  Write  us  for  full  details 
and  prices  covering  both  mounted  and  unmounted  lenses. 

BELL    &    HOWELL 

BELL  &  HOWELL  CO.,  1849  Larchmont  Ave.,  Chicago,  Illinois  •  New  York,  1 1  West  42nd  St. 
Hollywood,  63  24  Santa  Monica  Blvd.  •  London  (B&  H  Co.,  Ltd.)  320  Regent  St.  *  Established  1907 


Two 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


WHEN 


COOLNESS 


COUNTS 


<5 


Scene  from  "The  Royal  Family" — A  Paramount  Picture 


*£%&£&  K^_y  HOOTING  a  scene  with  swift  action 
requires  light  and  plenty  of  it.  Neither 
actors  nor  cameraman  want  heat.  National  Photo- 
graphic Carbons  provide  the  brilliant  illumination  and 
photographic  superiority  of  natural  sunlight  without 
the  discomfort  of  less  efficient  light  sources. 

And  the  carbon  arc  CAN  be  silenced.  The  number 
of  successful  sound  pictures  made  under  carbon  arcs 
is  definite  proof  of  this  fact. 

National  Photographic  Carbons  are  developed  to 
give  LIGHT  .  .  .  economical  light  .  .  .  quiet  light  .  .  . 
cool  light. 

NATIONAL 

PHOTOGRAPHIC      CARBONS 

Proved  by  test  the  most  economical  form  of  studio 
lighting.  Maximum  photographic  light  per  watt  of 
electrical  energy.  A  size  for  any  studio  arc  lamp.    .   . 

NATIONAL    CARBON    COMPANY,    INC. 

Carbon  Sales  Division  Cleveland,  Ohio 

NEW     YORK  PITTSBURGH  CHICAGO  SAN     FRANCISCO 

Unit  of  Union  Carbide   [IJjj   and  Carbon  Corporation 


BRANCH     SALES     OFFICES: 


INTERNATIONAL 
PHOTO  GPAPHE  R 


Official  Bulletin  of  the  International 
Photographers  of  the  Motion  Pic- 
ture Industries,  Local  No.  659,  of 
the  Intel-national  Alliance  of  The- 
atrical Stage  Employees  and  Mov- 
ing Picture  Machine  Operators  of 
the  United  States  and  Canada. 


Affiliated  with 

Los  Angeles  Amusement  Federa- 
tion, California  State  Theatrical 
Federation,  California  State  Fed- 
eration of  Labor,  American  Fed- 
eration of  Labor,  and  Federated 
Voters  of  the  Los  Angeles  Amuse- 
ment Organizations. 


Vol.  3 


HOLLYWOOD,  CALIFORNIA,   MARCH,   1931 


No. 


"Capital  is  the  fruit  of  labor,  and  could  not  exist  if  labor  had  not  first  existed. 
Labor,  therefore,  deserves  much  the  higher  consideration." — Abraham  Lincoln. 


C  0 

N  T 

E  N   T   S 

Eastman  Issues  Super  Sensitive  Pan- 

Tale of  Three-Element  Cineglow... 

.22 

chromatic  Negative  Type  Two 

4 

Cartoon — "The  New  Assistant" 

.25 

Radio  Pictures  Using  Safety  Parallel  7 

By  Glenn  R.  Kershner 

With  Shackelford  in  Gobi's  Desert 

8 

1930  Exports  Drop  from  1929 

.26 

By  James  Shackelford 

Chile  Employs  Films  for  Education. 

.29 

Looking  In  On  Just  a  Few  New  Ones. 
By  George  Blaisdell 

.10 

Chicago  Company  Successfully  Using 
Films  for  Stock  Selling 29 

Dirt  and  Scratches 

Conducted  by  Ira  Hoke 

12 

Claim  12-Foot  Screen  Now  Possible 
For  16  mm 

.30 

DuPont  Producing  Faster 

Panchromatic    Negative    

15 

By  Harry  Birch 

32 

Where  Death  Stalked  Luxury 

Now  Reigns   

16 

Life  Is  a  Rose — In  Memoriam 

By  Virgil  Miller 

34 

Stills  Are  Not  Affected  by  Talkers. 

.18 

Whispers  Now  Really  Are  Just  That 

.35 

The  International  Photographer  is  published  monthly  in  Hollywood  by  Local  659,  I.  A.T.S.E. 

and  M.  P.  M.  O.  of  the  United  States  and  Canada 
Entered  as  second  class  matter  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Calif.,  under 

the  act  of  March  3,  1879 
Copyright  1930  by  Local  659,  I.  A.  T.  S.  E.  and  M.  P.  M.  0.  of  the  United  States  and  Canada 

Howard  E.  Hurd, 


George  Blaisdell    -------     Editor 

Ira  Hoke  Associate  Editor 

John  Corydon  Hill 


Publisher's  Agent 
Lewis  W.  Physioc    1 
Fred  Westerberg      j 
-     -     -     Art  Editor 


Technical  Editors 


Subscription  Rates — United  States  and  Canada,  $3.00  per  year.    Single  copies,  25  cents 
Office  of  publication,  1605  North  Cahuenga  Avenue,  Hollywood,  California.    HEmpstead   1128 

The  members  of  this  Local,  together  with  those  of  our  sister  Locals,  No.  644  in  New  York,  No. 
666  in  Chicago,  and  No.  665  in  Toronto,  represent  the  entire  personnel  of  photographers  now 
engaged  in  professional  production  of  motion  pictures  in  the  United  States  and  Canada.  Thus 
The  International  Photographer  becomes  the  voice  of  the  Entire  Craft,  covering  a  field  that 
reaches  from  coast  to  coast  across  North  America. 
Printed  in  the  U.  S.  A.     l--^MS^2     at  Hollywood,  California. 


Four 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


Eastman  Issues  Super  Sensitive 
Panchromatic  Negative  Type  Two 

At  Dinner  Given  by  Brulatour  Company  Emery 

Huse  Presents  to  Camera  and  Laboratory 

Men  Data  of  Characteristics 


WHAT  is  declared  to  be  the  most 
representative  gathering  of 
cameramen  ever  assembled  un- 
der one  roof  were  the  guests  on  the 
evening  of  February  5  of  J.  E.  Brula- 
tour, Inc.,  of  California  at  the  Up- 
lifters'  ranch  in  Santa  Monica  Canyon. 
Mingling  with  them  were  practically 
all  of  the  laboratory  experts  of  the 
west  coast. 

The  occasion  was  the  announcement 
of  the  Eastman  Kodak  Company's  new 
super  sensitive  panchromatic  type  two 
motion  picture  negative  film,  a  tech- 
nical description  of  which  will  be 
found  in  another  part  of  this  story. 

William  J.  German,  vice-president 
and  general  manager  of  the  Brulatour 
company  of  New  York,  arrived  in 
town  two  days  before  the  dinner,  re- 
turning east  two  days  following. 
Associated  with  Mr.  German  were  Ed- 
ward 0.  Blackburn,  vice-president  of 
J.  E.  Brulator,  Inc.,  of  California;  Bud 
Courcier  and  George  Gibson. 

The  Eastman  Kodak  Company  was 
officially  represented  by  Edward  P. 
Curtis  of  Rochester,  sales  manager  of 
the  motion  picture  division,  who  is 
making  an  extended  business  visit  in 
Hollywood  this  winter. 

At  the  conclusion  of  the  dinner,  at 
which  approximately  260  sat  down, 
Mr.  Blackburn  as  master  of  cere- 
monies referred  to  the  cordiality  and 
the  confidence  that  have  marked  the 
relations  between  the  camera  and 
laboratory  divisions  on  one  hand  and 
the  Eastman  company  on  the  other. 
Progressed  Together 

"We  have  progressed  together,  and 
I  am  very  sure  we  shall  continue  to 
do  so,"  the  speaker  went  on.  "We 
have  invited  you  here  as  our  guests 
tonight  in  order  to  present  to  you  and 
in  order  to  describe  to  you  in  detail 
the  latest  and  the  greatest  triumphant 
achievement  of  the  research  labora- 
tory of  the  Eastman  Kodak  company. 

"Without  further  preliminary  and 
with  genuine  pride  of  association  I 
want  to  introduce  to  you  the  chief  of 
the  sales  department  of  the  motion 
picture  film  division  of  the  Eastman 
Kodak  Company  of  Rochester,  Mr.  Ted 
Curtis." 

Mr.  Curtis  raised  a  hearty  laugh  at 
the  opening  of  his  chat  when  he  re- 
ferred to  a  still  picture  that  had  been 
taken  at  the  beginning  of  the  dinner. 
This  still,  by  the  way,  was  exposed  in 
a  room  45  or  50  feet  wide  by  some- 
thing like  100  feet  long.     Forty-eight 


frosted  lamps,  of  possibly  60  watt 
each,  constituted  the  illumination. 
There  were  lamps  over  the  small 
stage  which  had  attracted  no  atten- 
tion, not  even  of  the  photographer. 

At  the  time  the  picture  was  exposed 
to  the  scant  light  mentioned  and  with- 
out any  flashlight  to  conform  to  his- 
toric precedent  a  majority  of  the  cam- 
era and  laboratory  men  present  open- 
ly were  skeptical  that  any  picture 
would  be  returned. 

So  there  was  much  laughter  when 
the  Eastman  sales  chief  opened  up  by 
saying  that  "Before  beginning  my  few 
remarks  I  regret  to  inform  you  there 
has  been  a  slight  hitch  in  the  presen- 
tation. 

"We  had  hoped  by  this  time  to  show 
you  a  print  of  the  photograph  taken 
earlier  in  the  evening,  but  the  nega- 
tive was  overexposed  and  it  is  now  be- 
ing reduced  so  that  we  may  get  a 
print." 

He  Laughs   Best  Who — 

That  was  the  signal  for  the  mirth. 
Those  who  before  had  been  skeptical 
about  any  picture  having  been  taken 
now  were  confirmed  in  their  view  they 
were  being  gently  "kidded."  They 
saw  for  themselves  later,  however,  the 
photographer  had  failed  to  take  into 
account  the  added  strength  of  the 
lights  on  the  stage — and  it  had  been 
these  that  caused  the  trouble,  really 
overexposure. 

Seriously,  the  speaker  said,  the  men 
associated  with  the  Eastman  company 
were  very  proud  of  the  new  film.     It 
had  seemed  fitt 
announcement  s 

the  group  he  then  was  addressing, 
"because  in  your  hands  very  largely 
rests  the  responsibility  for  its  success, 
you  who  represent  companies  spend- 
ing millions  of  dollars  annually  in  the 
making   of  pictures." 

Mr.  Curtis  spoke  of  the  close  con- 
tact maintained  between  the  sales  and 
office  organizations  of  J.  E.  Brulatour 
and  the  home  office  of  the  Eastman 
company  and  said  the  problems  which 
by  his  hearers  are  put  up  to  Holly- 
wood are  in  turn  handed  on  to  Roches- 
ter. 

Origin  and  Quality 

"There  is  just  one  thing  more  I  want 
to  say,"  said  the  speaker,  "and  that 
is  no  matter  how  superior  the  film 
may  be  the  quality  on  the  screen  de- 
pends first  on  the  man  behind  the 
camera  and  second  on  the  man  in  the 
laboratory.     We  know  in  your  hands 


it  will  receive  the  treatment  that  will 
bring  out  the  supreme  quality  in  the 
film." 

Following  reading  of  telegrams  of 
congratulation  from  President  Stuber 
of  the  Eastman  Company,  Jules  E. 
Brulatour,  and  Business  Representa- 
tive Howard  E.  Hurd  of  the  Interna- 
tional Photographers,  who  with  Vice- 
President  Roy  Klaffki  and  John  Boyle 
was  in  New  York,  Mr.  Curtis  intro- 
duced Emery  Huse,  director  of  the 
Eastman  West  Coast  research  labora- 
tories, as  the  speaker  of  the  evening. 
A  summary  of  Mr.  Huse's  speech  fol- 
lows this  article. 

Those  who  sent  acceptance  cards  to 
the  dinner  were: 


J.  A.  Ball 
Art  Lloyd 
J.  O.  Taylor 
W.  L.  Griffin 
Homer  A.  Scott 
G.  B.  Meehan,  Jr. 
Charles   P.   Boyle 
Chester  A.  Lyons 
Daniel  B.  Clark 
Ernest  F.  Smith 
J.  P.  Whalen 
W.  H.  Dietz 
J.  A.  Valentine 
W.  T.  Sullivan 
Frank  B.  Good 
W.  A.  Sickner 
Eddie  Linden 
J.  B.  Shackelford 
N.  F.  Brodine 
Friend  F.  Baker 
J.  C.  Smith 
F.  M^Blackwell 
ing,  he  said,  that  the\i"  Arthur  ReevesT>K( 
hould  be  made  first  to   Pftr-OT^Birrgef 

H.  A.  Anderson  ' 
Sam  Hess 
Ted  Tetzlaff 
Milton  M.  Moore 
Gordon  Jennings 
J.  B.  Walker 
Sid  Hickox 
Oren  W.  Roberts 
Charles    Marshall 
Elmer  G.  Dyer 
W.  H.  Daniels 
Peter  B.  Steele 
Roy  Kluver 
S.  E.  Greenwald 
Blaine  Walker 
David  Abel 
Lloyd  Knechtel 
Arthur  Edeson 
Leo  Tover 
Gus  Peterson 
Harry  W.   Forbes 
H.   C.   McClung 
A.  M.  Davey 


E.  L.  Pilkington 
R.  S.  Newhard 

F.  B.  Heisler 
Russell  A.  Cully 
H.  J.  Kirkpatrick 
C.  J.  Bigelow 

C.  G.  Clarke 
Walter  Lundin 
Frank  Redman 
Arthur  Smith 
J.  T.  Brown,  Jr. 
Ben  Reynolds 
Irvin  Roberts 
Alfred  L   Gilks 

F.  R.   Eldredge 
W.  W.  Nobles 
W.  H.  Greene 
Ali  Stark 
Edwin  B.  Hesser 
R.  F.  Overbaugh 
William  C.  Hyer 
Glen  Gano 

C.  C.  Baldridge 
Kenneth  Peach 
John  F.  Seitz 
J.  R.  Herman 
Harry  A.  Zech 
Donald  B.  Keyes 
Abe  Scholtz 
Stanley  Gifford 
L.  G.  Wilky 

G.  H.  Robinson 
E.  J.  Cohen 

J.  F.  Westerberg 
Raymond  C.  Ries 
Dr.  G.  F.  Jackman 
Jack   Stevens 
James  Diamond 
George  Stevens 
Lee  D.  Garmes 
R.  B.  Kurrle 
A.  C.  Miller 
Elgin   Lessley 
John  Hilliard 
L.   M.  Smith 
William  Wheeler 
G.  R.  Kershner 


March,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Five 


Allen  C.  Jones 
Jerome  H.  Ash 
Paul  H.  Allen 
Sol   Halprin 
L.  T.  Galezio 
Ray  Wilkinson 
Paul  P.  Perry 
W.  G.  Thompson 
John  Arnold 
Sol  Polito 
John  J.  Mescall 
Jules  Cronjager 
William  V.  Skall 
Virgil  Miller 
Mack  Stengler 
W.  H.  Tuers 
Gil   Warrenton 
W.  L.  Marshall 
Paul  G.  Hill 
Ira  B.  Hoke 
Ernest   Miller 
Dewey  Wrigley 
Pliny  W.  Home 
Jack  R.  Young 
Barney  McGill 
Tony  G.  Gaudio 
E.  t.  Estabrook 
Harry  Jackson 
Raider  B.  Olson 
R.  E.  Lyons 
Faxon  M.  Dean 


Harry    Perry 
V.  L.  Walker 
R.  B.  Staub 
Frank  Cootz 
Charles   Rosher 
Paul  E.  Eagler 
Roy  Davidge 
Hal  Hall 
Fred  W.  Gage 
Harris   Ensign 
Charles  Levin 
Alvin  Wyckoff 
George  Blaisdell 
C.  Roy  Hunter 
Fred   Jackman 
Len  Powers 
H.  N.  Kohler 
J.  A.  Dubray 
G.  MacWilliams 
Charles  Stumar 
E.  J.  Snyder 
Earl  R.  Hinds 
Ira  H.  Morgan 
J.  E.  Tucker 
Irving  G.  Ries 
Harold  Lipstein 
John  F.  Hickson 
R.  V.  Doran 
Wiliam  A.  Rees 
Lenwood   Abbott 
Ernest  Palmer 
Jackson   Rose 
Arthur  L.  Todd 


W.  E.  Fildew 
Theo  Sullivan 
Rex  L.  Wimpy 
H.    Knollmiller 
R.  B.  Nichol 
John  S.   Stumar 
Joe  J.  Novak 
Ben  H.  Kline 
L.  L.  Lancaster 
Robert  M.  Pierce 
Frank  H.  Booth 
Wilson   Leahy 
Eddie  Kull 
Jack  Fuqua 
W.  C.  Thompson 
Perry  Evans 
F.  E.  Larkin 
J.   M.  Nickelaus 
Mike  Leshing 
T.  M.  Ingman 
A.  J.  Guerin 
Joseph  Aller 
Ray  Mammes 
Park  J.  Ries 
C.  E.  Van  Engler 
Harry  Gant 
Dodge  Dunning 
Ted  McCord 
M.   B.   DuPont 
C.  M.  Downer 
Edwin  O'Connell 
C.   S.  Piper 
Harry  Vallejo 


Bill  Eglinton 
Frank  M.  Cotner 
Victor   Milner 
L.  W.  Physioc 
E.  S.  Depew 
Roy    Purdon 
H.  F.  Koenekamp 
R.  E.  Yarger 
Dev  Jennings 
W.  V.  Kelley 
Nick   Musuraca 
J.  W.  Howe 
Leon    Shamroy 
Percy    Hilburn 
Arthur    Martinelli 
Paul  Lang 
H.  L.  Broening 
C.  E.  Schoenbaum 
George   Seid 
Jake    Badaracco 
Farciot   Edouart 
Ray  Rennahan 
J.  H.  August 
Henry  Goldfarb 
Otto  Himm 
G.  Schneiderman 
George  Crane 
Andre  Barlatier 
J.  C.  Van  Trees 
Harold  Rosson 
Milton    Cohen 
Karl  Freund 
W.  Crespinel 


Eastman  Super  Sensitive  Panchromatic  Type  Two — 
Motion  Picture  Film 

By  EMERY  HUSE  and  GORDON   A.  CHAMBERS 

West    Coast   Division — Motion   Picture   Film   Department 

Eastman   Kodak   Company 


ON  February  5,  1931,  the  East- 
man Kodak  Company  announced 
to  the  motion  picture  trade  in 
Hollywood  its  new  super  sensitive 
panchromatic  type  two  motion  picture 
negative  film.  Inasmuch  as  this  film 
exhibits  characteristics  not  hitherto 
shown  in  motion  picture  negative 
emulsions  it  was  considered  advisable 
to  present  some  data  pertaining  to 
those  characteristics. 

This  article  is  not  presented  as  a 
complete  technical  treatise  of  the 
characteristics  of  the  super  sensitive 
film,  its  aim  being  to  call  attention 
briefly  and  simply  to  the  differences 
this  super  sensitive  film  exhibits  over 
the  present  type  of  panchromatic 
films. 

As  the  name  super  sensitive  im- 
plies, this  emulsion  is  extremely  fast, 
but  because  of  its  name  this  new  film 
must  in  no  way  be  confused  with  a 
hypersensitized  film.  In  the  past 
when  an  emulsion  of  extreme  speed 
was  desired,  either  for  color  photog- 
raphy, filter  shots  or  trick  work,  it 
was  customary  to  especially  treat  the 
film  with  some  type  of  sensitizing 
bath. 

This  bath  caused  a  general  increase 
in  the  emulsion  speed  and  particularly 
increased  the  red  light  speed.  How- 
ever, the  hypersensitized  film  had  cer- 
tain disadvantages  such  as  its  cost, 
its  lack  of  keeping  qualities,  and  its 
propensity  to  produce  fog.  With  the 
super  sensitive  type  two  these  disad- 
vantages are  entirely  overcome. 

The  increased  speed  of  the  super 
sensitive  film  has  been  accomplished 
during    the    course    of    the    emulsion 


manufacture.  It  is  sufficient  to  say, 
therefore,  that  the  super  sensitive 
film  is  not  a  hypersensitized  film. 
Furthermore,  the  super  sensitive  film 
exhibits  the  same  keeping  qualities 
and  shows  identical  physical  charac- 
teristics as  those  shown  by  the  pres- 
ent panchromatic  films. 

Greatly  Increased   Speed 

A  complete  study  of  any  type  of 
film  emulsion  is  best  accomplished  by 
making  both  sensitometric  and  prac- 
tical camera  tests.  This  article  will 
not  deal  in  any  detail  with  camera 
tests  but  will  consider  in  some  detail 
the  sensitometric  characteristics  oi 
the  super  sensitive  emulsion  as  com- 
pared with  the  present  type  of  pan- 
chromatic film. 

The  point  of  major  importance  in 
the  consideration  of  the  super  sensi- 
tive film  pertains  to  its  greatly  in- 
creased speed.  The  data  obtained 
sensitometrically  can  be  and  have 
been  checked  by  camera  exposures. 

Sensitometry  involves  a  study  of 
known  values  of  exposure  as  related 
to  the  amount  of  silver  (density) 
which  these  exposures  produce  upon 
the  film  after  development.  The 
standard  sensitometric  curve  is  there- 
fore one  in  which  is  shown  the  rela- 
tionship between  exposure  (expressed 
logarithmically"1  and  the  densities 
produced.  It  is  from  curves  of  this 
type  that  the  sensitometric  character- 
istics of  the  films  under  investigation 
have  been  studied. 

Another  important  consideration  in 
studying  the  speed  of  the  super  sensi- 
tive film  necessitates  a  study  of  the 


quality  of  the  light  sources  to  which 
this  film  is  exposed.  For  that  purpose 
sensitometric  tests  have  been  made  to 
daylight  and  to  tungsten. 

Inasmuch  as  the  mode  of  testing  an 
emulsion  to  any  light  source  is  prac- 
tically identical  we  shall  for  the  sake 
of  brevity  and  clarity  consider  only 
the  curves  obtained  by  exposure  to 
tungsten. 

Defining   Speed 

Figure  1  shows  the  sensitivity 
curve  of  the  present  and  super  sensi- 
tive type  of  film  for  tungsten  expos- 
ures developed  for  a  fixed  time,  nine 
minutes  in  a  standard  borax  devel- 
oper. It  will  be  observed  that  the 
supersensitive  curve  lies  above  the 
curve  for  the  present  type  of  film, 
and  the  separation  of  these  curves 
gives  an  indication  of  the  speed  dif- 
ference existing  between  the  two 
films. 

In  making  a  numerical  estimate  of 
the  speed  we  do  not  consider  the 
actual  density  values  produced  for  a 
given  exposure.  The  customary 
method  is  to  deduce  speed  from  the 
exposure  value  obtained  at  the  point 
where  the  straight  line  portions  of 
these  sensitivity  curves,  extended,  in- 
tersect the  exposure  axis. 

Speed  is  usually  defined  by  the  fol- 
lowing formula: 
1 

X    C    =:    Speed, 

i 
where  i,  the  inertia,  is  the  exposure 
value  of  the  intersection  point  and  C 
is  an  arbitrarily  chosen  constant.  For 
the  curves  shown  in  Figure  1  we  find 
that  the  speed  of  the  super  sensitive 
film,  as  represented  by  curve  No.  2, 
is  three  times  that  for  the  present 
type  films.  Identical  tests  made  to 
daylight  show  that  the  super  sensi- 
tive film  is  twice  the  speed  of  the 
present  type. 

With  reference  to  Figure  1  atten- 
tion should  be  called  to  the  marked 
difference  in  the  low  exposure  region, 
that  is  in  the  toe  of  the  H  and  D 
curve.  In  this  region  the  super  sen- 
sitive film  definitely  differentiates  be- 
tween exposures  of  very  low  intensi- 
ties. 

Particular  reference  is  made  to  the 
exposure    region    to    the    left    of    the 
relative  log  exposure  value  of  0.3. 
Tungsten  Speed  Greater 

The  cause  for  the  difference  in 
relative  speeds  between  the  two  types 
of  films  to  tungsten  and  to  daylight, 
or  to  any  other  source,  is  entirely  de- 
pendent upon  the  color  distribution 
of  light  from  the  source  and  its  effect 
upon  the  color  sensitivity  of  the  emul- 
sion. 

It  is  generally  known  that  tungsten, 
for  example,  contains  a  greater  pro- 


EXP0SURE  :  TOMGSTEN 

S  Min.  in  Borax 


i.  Present  Films 

z.  Super  Sensitive  Film 


"Relative  Log  E 


o.o    oS    oS    55     Ti     is     i*    u     S»    TT 


Figure  1 


Six 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


portion  of  red  light  than  does  day- 
light, and  the  difference  in  speed  of 
the  two  films  indicates  that  the  super 
sensitive  film  must  possess  greater 
sensitivity  to  red  light  than  the  pres- 
ent type  of  film. 

It  is  mainly  for  this  reason  that  the 
tungsten  speed  of  the  super  sensitive 
when  compared  to  the  present  type 
of  film  is  greater  than  for  a  similar 
comparison  to  daylight. 

The  difference  in  color  sensitivity 
of  the  two  types  of  films  is  shown  in 
Figure  2.  This  figure  shows  prints 
of  spectrograms  of  the  two  types  of 
film  when  exposed  to  tungsten.  Speed 
comparisons  should  not  be  drawn 
from  these  prints  as  the  prints  are 
so  made  to  show  the  regions  of  the 
spectrum  to  which  each  emulsion  is 
sensitive. 

The  figures  given  represent  wave 
lengths,  and  beginning  at  40  in  the 
blue  violet  region  we  have  increasing 
wave  lengths  through  the  blue  violet, 
blue,  green,  yellow,  and  orange  as  far 
as  the  deep  red  given  at  a  wave 
length  of  68  microns. 

The  super  sensitive  film  shows  an 
increased  concentration  of  sensitivity 
in  the  region  around  64  microns.  The 
super  sensitive  film  confines  its  sensi- 
tivity to  the  definitely  visible  portion 
of  the  red  end  of  the  spectrum,  while 
the  present  type  of  films  shows  an 
extension  into  the  deep  red  and  en- 
croaches upon  the  near  infra-red  re- 
gion. 

This  concentration  of  visible  red 
sensitivity  gives  a  marked  advantage 
to  the  super  sensitive  as  it  is  the  ex- 
tension of  red  sensitivity  into  the  re- 
gion of  longer  wave  lengths  which  is 
a  contributory  factor  in  the  produc- 
tion of  chalky  highlights  under  tung- 
sten illumination.  This  is  eliminated 
to  a  marked  degree  with  the  super 
sensitive  film. 

A  complete  study  of  an  emulsion's 
sensitivity  to  color  necessitates  actual 
speed  measurements  to  the  three  ma- 
jor portions  of  the  visible  spectrum, 
namely  to  blue,  to  green,  and  to  red 
light.  For  the  purpose  of  obtaining 
such  information  actual  speed  tests, 
similar  to  those  shown  in  Figure  1 
and  later  verified  by  practical  expo- 
sure, were  made  to  daylight  through 
the  No.  49  (blue),  58  (green),  and 
25   (red)  filters. 

Speed  values  determined  from  such 


tests  show  that  the  super  sensitive 
film  has  75  per  cent  greater  speed  to 
the  blue,  200  per  cent  greater  for  the 
green,  and  from  400  to  500  per  cent 
greater  for  the  red  exposures. 

Such  sensitivity  naturally  lends  to 
a  better  and  more  intelligent  use  of 
filters,  either  for  straight  photog- 
raphy or  for  trick  work. 

Increased  Speed 

Another  important  consideration  in 
the  comparison  of  present  and  super 
sensitive  film  pertains  to  contrast  and 
the  rendering  of  shadow  detail  and 
softer  highlights.  Figure  3  shows  for 
tungsten  exposures  the  difference  in 
time  of  development  between  the  two 
types  of  film  to  produce  equal  degrees 
of  contrast  (gamma). 

These  curves  are  of  equal  gamma 
and  the  data  contained  shows  that  it 
was  necessary  to  develop  the  super 
sensitive  film  three-quarters  of  a  min- 
ute longer  to  produce  this  effect. 

Furthermore,  greater  density  is 
picked  up  in  the  low  exposure  region. 
This  is  mostly  accounted  for  b,r  the 
increased  speed  of  the  super  sensitive 
emulsion,  but  it  is  this  ability  to  pick 
up  and  differentiate  between  these 
low  intensities  which  gives  the  high 
order  of  shadow  detail  rendering 
which  is  shown  by  this  super  sensi- 
tive emulsion. 

On  the  other  hand,  in  the  region 
of  high  exposures  it  will  be  observed 
that  the  super  sensitive  film  shows  a 
tendency  to  break  into  a  shoulder, 
while  the  present  film  continues  as  a 
straight  line.  This  is  at  least  true 
for  the  series  of  exposures  shown  in 
the  figure.  This  break  into  a  shoulder 
lends  to  softer  highlight  rendering 
and  still  permits  of  very  definitely 
separating  highlight  intensities  and 
thus  produces  details  in  this  region. 

Figure  4  shows  in  much  more  de- 
tail the  relationship  existing  between 
contrast  (gamma)  and  time  of  devel- 
opment. These  curves,  made  from 
exposures  to  tungsten,  represent 
what  are  commonly  referred  to  as 
time-gamma  curves  and  they  show 
the  rate  at  which  gamma  builds  up 
with  increasing  time  of  development. 

The  rate  of  increase  of  contrast 
with  increased  development  time  is 
appreciably  less  for  the  supersensitive 
film,  as  will  be  shown  by  a  study  of 
the  curves  in  Figure  4. 

This  means  that  in  the  handling  of 


Tungsten 


Hi  ■TOwjiillhli 

1      ,   44 

52 

56 

;,i.iii,H;k!  i,. 

60 

64 

1    8)*l 

IllllH 

Present  Films 


^mmmm^^^mm 

m&mm^^+u* 

.  . -  .-■■.A.. 

|          «atIC&677 

V 

MSi'iilii'ldim 

iiiiiL 

52 

56 

60 

1         64         (1 

IS 

Exposure 

Tungsten 

It 

12 
1  0 
08 

> 
l- 

z 

Development: 
i  sMin.  in  Borax 
2  S»A( 

K^\-^^ 

OS 

ft 

i  Tresent  Films 

z  Supersensitive  Film 

02 

"Relative  Log  E 

0.0      OS     0.0     0.9       12       IS       l»      2.1 

Figure  J 

the  film  during  development  there  is 
relatively  little  chance  of  either  un- 
der or  over  developing.  Errors  of 
the  order  of  25  per  cent  in  develop- 
ment time  will  have  a  much  less 
marked  effect  on  the  super  sensitive 
film. 

In  other  words  the  super  sensitive 
film  gives  to  the  laboratory  man  that 
one  thing  which  is  so  important  to 
him  and  which  is  colloquially  referred 
to  as  "development  latitude." 

There  is  just  one  caution  which 
should  be  mentioned  at  this  time.   Due 


i  "Present  Films 

2  Super  Sensitive  Film 


a       a       It      15      18      zi 
Minutes  in  Boyax 


Super  Sensitive  Film 
Figure  2 


figure  U 

to  the  increased  sensitivity  of  this 
emulsion,  the  handling  of  this  film 
cannot  be  successfully  accomplished 
unless  the  illumination  from  the  pres- 
ent safelights  is  reduced  appreciably. 
The  ideal  condition  under  which  to 
handle  this  film  would  be  total  dark- 
ness, and  no  doubt  this  condition  will 
prevail  inasmuch  as  many  camera 
loading  rooms  and  laboratories  which 
process  negative  on  machines  now 
operate  in  almost,  if  not  total,  dark- 
ness. 

It  is  felt,  therefore,  that  this  will 
not  work  any  great  hardship  on  the 
laboratory.  However,  this  word  of 
caution  is  considered  necessary  be- 
cause of  the  greater  increased  speed 
both  to  white  and  to  colored  light  of 
the  super  sensitive  emulsion. 

What  Super  Sensitive  Does 

It  is  felt  that  a  summary  of  the 
outstanding  features  of  the  super 
sensitive  film  will  bear  repeating. 

1 — Super  sensitive  film  is  twice  as 
fast  to  daylight  and  three  times  as 
fast  to  tungsten  light  as  the  present 
type  panchromatic  films. 

2— Super  sensitive  film  shows  75 
per  cent  more  speed  to  blue  light,  200 
per  cent  more  to  green  light,  and 
from  400  to  500  per  cent  more  to  red 
light. 

3 — Super  sensitive  film  exhibits  an 
appreciably  softer  characteristic  than 
present  films.  For  the  same  time  of 
development  the  super  sensitive  film 
gives  lower  gammas.  This  makes  it 
advisable  to  develop  the  super  sensi- 
tive film  longer  if  the  same  degree  of 
contrast  as  now  accepted  is  still  de- 
sired. 

4 — Super  sensitive  film  must  be 
handled  at  a  much  reduced  light  in- 
tensity in  the  dark  rooms. 


March,  19J1 


The    INTERNATIONAL    PHOTOGRAPHER 


Seven 


Radio  Pictures   Using  Safe  Device 
in  Place  of  Ramshackle  Parallels 


A  NEW-FANGLED  portable  mo- 
tor-driven parallel  or  camera 
platform  is  now  in  use  at  the 
Radio  studio  in  Gower  street.  It  is 
the  design  of  W.  V.  Johnson ,  the 
studio  electrical  chief. 

The  parallel  consists  of  three  plat- 
forms which  fold  one  into  another. 
These  are  extended  by  means  of  an 
electric  motor  or  gas  engine  fastened 
to  the  chassis.  Through  a  reduction 
gear  with  a  ratio  of  100  to  1  the 
apparatus  unfolds  like  a  telescope. 

The  tower  has  been  strongly  built, 
so  much  so  that  twelve  men  and  four 
cameras  may  be  carried  with  entire 
safety.  Both  sets  of  wheels  are  steer- 
able  allowing  for  moving  the  tower  in 
any  desired  direction  without  loss  of 
time.  This  factor  makes  the  new 
equipment  of  particular  value  in  out- 
door work. 

Cameramen  have  been  especially 
interested  in  Johnson's  contribution 
to  the  safety  of  photographers.  For 
so  many  years  at  times  they  have 
been  expected  by  callous  directors  to 
mount    rickety    parallels    placed    with 


entire  disregard  of  safety  to  life  and 
limb  that  they  are  bound  to  welcome 
any  device  that  will  lessen  risks  heavy 
enough  under  the  best  of  circum- 
stances. 


When  the  Film  the  Builder 
Rejected  Proves  Funnier 
Than  Scenario  Anticipated 

FOR  the  entertainment  of  studio 
guests  as  well  as  players  Mack 
Sennett  has  had  compiled  a  print  en- 
titled "Mistakes."  Few  scenes  are  re- 
corded as  the  director  would  have 
them  until  they  have  been  rehearsed 
several  times.  Then  as  a  rule  some- 
one in  the  sequence  will  slip  on  his 
lines  with  the  result  the  scene  has  to 
be  begun  all  over  again.  This,  of 
course,  is  in  order  to  assure  unbroken 
continuity  when  the  finished  product 
reaches     the  screen. 

It  sometimes  happens  a  player  will 
develop  particular  difficulty  in  utter- 
ing or  remembering  a  certain  line 
in  the  exact  order  in  which  for  story 
purposes    the    powers    that    be    have 


decided  must  be  the  rule.  Generally 
when  a  player  has  stumbled  two  or 
three  times  on  the  same  trap  his  pa- 
tience is  somewhat  frayed — if  he  does 
not  experience  a  humiliated  feeling" 
each  time  a  slip  comes  the  director 
calls  a  halt  it  is  something  very  close 
to  it. 

Under  these  circumstances  a  player 
usually  is  as  frank  in  expressing  his 
sentiments  as  it  is  possible  for  one 
human  to  bs.  Not  always  is  his  lan- 
guage pol'te.  Far  from  that.  Explosive 
it  is  sure  to  be.  The  women  are  as. 
prone  to  declare  themselves  as  the 
men  when  they  find  they  have  stopped 
the  show — and  often  with  entire  un- 
concern as  to  surroundings — with 
post  mortem  results  that  in  their 
cases  are  even  funnier  than  those  of 
the  men. 

So  the  producer  delegated  one  of 
his  cutters  to  look  over  his  specimens, 
of  "the  face  on  the  cutting  room 
floor"  and  see  what  could  be  assem- 
bled. 

Even  to  the  stranger  who  knows, 
nothing  about  the  picture  that  had 
been  in  the  making  or  even  the  iden- 
tity of  the  players  affected  the 
screened  contretemps  frequently  are 
responsible  for  more  mirth  than  the 
approved  completed  comedy  could 
have  been. 


Portable  motor  driven  parallel  or  camera  platform  designed  by  W.  V.  Johnson,  electrical  chief  at  Radio  studio,  shoiv- 
ing  it  in  collapsed  form  at  left  and  fully  extended  on  the  right.    Inset,  Chief  Johnson. 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


»r##*'¥f*'*#'*1*' 


***  ^^mm^f^t-^-% 


*>+*. 


Pf^ith  Shackelford 
in  Gobi's  Desert 

By  JAMES  SHACKELFORD 

IN  my  four  trips  with  the  Roy  Chapmar 
Andrews  expeditions  I  have  covered  ove 
25,000  miles  in  Asia.  Our  outfit  usually  con 
sisted  of  125  camels,  eight  motor  cars  and  abou 
forty  men,  the  latter  including,  besides  the  regu 
lar  staff,  a  crew  of  twelve  to  sixteen  Mongo 
camel  men  and  about  the  same  number  of  Chi 
nese  servants   and  helpers. 

The  camel  caravan  provided  our  movable  bast 
and  carried  food  for  the  men  and  gasoline,  tires 
and  extra  parts  for  the  motor  cars.  After  mak 
ing  contact  with  the  caravan  and  taking  off  sup 
plies  to  last  us  for  three  or  four  weeks,  and  whil< 
we  were  exploring  an  area  of  from  50  to  20( 
square  miles,  our  camels  would  move  on  to  a  pre 
determined  spot. 

We  were  able  to  cover  as  much  distance  in  ; 
day  with  the  cars  as  our  camels  would  do  in  i 
week,  depending  of  course  upon  the  topography  o 
the  country.  Our  caravan  might  travel  in  a  direc 
line,  whereas  our  cars  might  have  to  detour  man; 
miles,  and  at  times  we  were  forced  to  leave  th< 
cars  and  use  the  camels  on  side  trips  in  countr; 
impassable  even  for  a  horse. 

Outside  of  fresh  meat  we  not  only  had  to  earn 
all  our  food,  but  enough  to  last  from  four  to  si) 
months.  On  some  of  our  trips  we  were  out  o 
communication  with  the  outside  world  for  month; 
at  a  time.  Once  in  the  Alashan  desert  wher 
camped  along  the  route  of  Marco  Polo  we  sen 
out  mail  by  Sven  Hedin's  caravan  as  it  was  re 
(Continued  on  Page  24) 


March,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Nine 


Story  of  the  Pictures 


t    panel,    reading    down — Our    farthermost    camp    on    the 

thwestern  edge  of  the  Gobi,  1200  miles  from  Peking, 
camped    on    this    lake    for    several    weeks    and    found    a 

inge  kind  of  fi;h  here  that  used  to  come  up  out  of  the 
;er  at  night  and  feed  among  the  rocks  along  the  shore — 
[    camel    caravan    arriving    at    the    Flaming    Cliffs    in    the 

ley  of  Shabrach  Uau  where  the  10,000,000  year  old 
osaur  eggs  were  found  and  incidentally  it  was  in  this 
key  where  we  discovered  the  "Dune  Dweller,"  a  primitive 
E  living  in  this  spot  20,000  years  ago. — Our  camels  cross- 
ing the  sand  dunes  on  their  way  to  water. 

jht  panel — Our  camel  caravan  resting  in  the  sand  dunes. 
\  elevation  here  is  over  7000  feet  and  the  Altai  mountains 
jthe  background  rise  to  a  height  of  over  14,000. — On  our 
t  day  up  after  leaving  the  end  of  the  railroad  we  were 
ompanied  by  the  American  Minister  to  China,  and  as  we 
re  passing  through  country  controlled  by  bandits  the 
Inese  authorities  insisted  upon  a  military  escort.  In  the 
tance  can  be  seen  the  old  watch  towers,  outposts  of  the 
,>at  Wall  of  China,  built  over  2000  years  ago,  which  were 
<1  as  signal  posts  to  convey  information  cf  the  approach 
Tartar  enemies  from  the  north. — At  a  meeting  place  with 
caravan  where  we  took  off  supplies,  showing  part  of  one 
'our  camps.  The  boxes  are  numbered  and  contents  cata- 
,ued.  The  T-shaped  units  are  cases  of  gasoline,  six  cases 
of  ten   gallons   each    making   a   camel    load. 

wer — Left :  After  a  season  in  the  Gobi  our  motor  cars 
'sing  a  small  Chinese  walled  city  on  the  return  to  Peking. 
!st  Chinese  towns  are  walled  to  keep  out  the  brigands,  the 
)es  being  closed  at  sunset  and  opened  at  sunrise.  Right : 
jdesert  steed.  This  is  the  BactKan  or  double  humped 
pel  which  often  grows  to  an  enormous  size.  It  is  capable 
carrying  half  a  ton  for  limited  distances  amd  will 
carry  a   quarter   of  a  ton   on   long  treks. 

•per — Left :  The  last  outpost,  a  day  by  motor  car  from 
j  end  of  the  railroad.  This  telegraph  station  is  on  the 
lil  between  Urga  and  Peking.  Urga  is  the  capital  of  Mon- 
|ia.  Right,  a  typical  Mongol  habitation.  The  full  grown 
the  flock?  are  kept  in  the  stone  corral  and  the  young  are 
it  in  the  yurts  or  felt  tents  at  night,  the  animals  sleeping 
on  cne  side  of  the  yurt  and   the   native?   on   the   other. 


mm  \   mm 


Ten 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


Looking  In  on  Just  a  Few  New  Ones 


CITY   LIGHTS 

Rollie  T  other  oh,  Cameraman 

HAVING  in  mind  the  fact  that 
Charles  Chaplin  spent  more 
than  two  years  in  the  making 
of  "City  Lights"  and  in  view  of  a  re- 
mark he  made  to  the  first  night  audi- 
ence at  the  new  Los  Angeles  Theatre 
opening  it  would  seem  that  off  the 
screen  as  well  as  on  it  he  still  is  the 
premier  comedian.  He  had  just  been 
presented  to  the  house  by  Conrad 
Nagle,  who  in  closing  had  made  refer- 
ence to  the  player's  inexhaustible 
imagination   and   perfect   technique. 

"I  thank  you  for  your  appreciation," 
the  speaker  responded  when  he  could 
make  his  voice  heard.  "You  know  if 
I  had  had  a  little  more  time  I  would 
have  tried  to  make  'City  Lights'  a  bet- 
ter picture." 

Nevertheless  it  had  been  a  pretty 
good  picture  at  that.  Chaplin's  fol- 
lowers have  not  been  trained  to  ex- 
pect so  much  in  the  way  of  a  plot. 
They  want  one  thing  above  all  else — 
and  that's  Chaplin. 

Paraphrasing  the  old-time  miner 
who  declared  there  was  no  bad 
whisky,  although  of  course  some 
whisky  was  better  than  others,  legions 
of  picturegoers  will  testify  that  there 
is  no  such  thing  as  a  bad  Chaplin. 
Of  course,  some  are  better  than 
others. 

"City  Lights"  will  not  qualify  as 
the  comedian's  best  or  greatest,  but 
it  will  serve. 

So  far  as  concerns  the  matter  of  no 


By  GEORGE  BLAISDELL 


dialogue,  the  subject  as  a  maker  or 
unmaker  of  precedents  is  without 
value.  What  the  trade  as  a  whole 
may  have  overlooked  is  that  what 
Chaplin  does  cannot  with  safety  be 
construed  as  a  criterion  in  charting 
the  course  of  any  other  actor,  male 
or  female. 

If  any  doubt  existed  on  this  point, 
the  remarks  uttered  by  actors  and 
producers  before  the  microphone  in 
front  of  the  theatre  that  evening- 
would  have  resolved  it.  And  when  an 
actor  concedes  quality  to  another 
actor,  he  pretty  near  means  it. 
Chaplin's  first  position  not  only  was 
admitted  but  emphasized. 

To  see  Chaplin  again  on  the  screen 
is  like  the  homecoming  of  a  long- 
absent  friend.  One  chuckles  and 
laughs,  even  breaks  right  out  and  lets 
go  regardless  of  the  painfully  sedate 
neighbor  unable  to  understand  how 
such  an  absurdity  could  cause  such  an 
explosion. 

All  of  the  famous  mannerisms  are 
here  and  also  some  of  the  old  tricks. 
There's  one  where  a  whistle  is  lodged 
in  his  throat,  to  the  great  annoyance 
of  the  speaker  of  the  moment. 

There  was  real  mirth  on  the  part 
of  the  first  night  house,  one  made  up 
almost  entirely  from  the  trade,  when 
in  perfect  synchronization  with  the 
lips  of  a  woman  speaker  there  came 
a  series  of  squeaks  reminiscent  of  the 


product  of  an  exceedingly  defective 
recording  or  reproducing  system. 

The  occasion  was  the  unveiling  of  a 
figure  of  Justice,  and  the  same  rule 
was  the  order  when  Henry  Bergman, 
as  orator  of  the  day,  also  began  his 
speech.  It  was  the  first  laugh  of  the 
picture;  no  further  chiding  of  the 
talkers  was  indulged  in. 

The  second  came  when  the  come- 
dian, in  getting  down  out  of  the  lap 
of  the  goddess,  where  he  had  been 
"carrying  the  banner,"  fell  afoul  of 
the  sword  of  justice  and  was  speared 
from  stern  to  stem,  thereby  being  un- 
able uninterruptedly  to  maintain  his 
footing  and  stand  at  attention  out  of 
respect  to  the  national  air. 

Chaplin  gave  full  recognition  to 
other  players  in  according  opportuni- 
ties. Harry  Myers,  as  the  million- 
aire who  when  drunk  was  unable  to 
do  enough  to  display  his  regard  for 
the  tramp  but  who  when  sober  re- 
fused to  recognize  him,  contributed 
much  to  the  fun. 

Virginia  Cherrill  won  the  admira- 
tion of  the  house  right  from  the  start. 
As  the  blind  girl  she  was  most  effec- 
tive. In  the  short  dramatic  sequences 
she  had  her  full  share  of  the  stage, 
especially  in  the  concluding  scenes. 

Here  the  tramp,  at  the  lowest  ebb 
of  his  fortunes,  discovers  in  a  flower 
store  the  girl  he  had  helped,  now  able 
to  see.  It  is  a  strong  situation,  with 
the  girl  unaware  of  the  identity  of 
the  benefactor  she  had  believed 
wealthy. 

Others  in  the  cast  are  Florence  Lee 
as  the  grandmother,  Allen  Garcia  as 
the  butler  and  Hank  Mann  as  the 
prizefighter. 

Chaplin  was  assisted  in  his  direc- 
tion of  the  picture  by  Henry  Bergman, 
Albert  Austin  and  Harry  Crocker. 


Maurice  Kains  slips  into  the  desert  and  north  of  Palmdale  snaps  this  shot  of, 

a  joshua  tree  group 


LIGHTNIN'   (FOX) 

Chet  Lyons,  Cameraman 

IF  the  Fox  company  continues  in 
future  to  display  in  the  choice  of 
Will  Rogers'  stories  the  same  ex- 
cellent judgment  it  has  shown  in  the 
recent  past  it  would  seem  that  but  one 
result  will  be  possible:  the  lifting  of 
this  busy  man  from  Oklahoma  into 
the  front  rank  of  screen  attractions. 

Indeed,  considering  his  newspaper 
work  and  his  radio  talks  as  well  as 
other  activities  in  conjunction  with 
pictures  it  would  be  difficult  to  name 
a  person  who  will  match  him  in  the 
number  of  Americans  with  whom  he 
establishes  contact. 

"Lightnin',"  recently  released  by 
the  Fox  company,  will  go  far  to  in- 
trench Rogers  in  the  hearts  of  his  ad- 
mirers. While  Frank  Bacon  wrote  the 
play  with  himself  in  mind  as  Bill 
Jones  he  might  well  have  been  think- 
ing of  Rogers  mellowed  by  a  dozen 
years  of  added  experience  with  the 
world. 

Certainly  it  is  a  whimsical,  tender 
interpretation  the  humorist  gives  us 
of   the   shiftless   husband    of  the   go- 


March,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Eleven 


getting-  head  of  the  hotel  on  the  bor- 
der line  of  California  and  Nevada. 
Rogers  not  only  soft-pedals  on  the 
drinking  proclivities  of  Bill  Jones;  be- 
yond a  single  instance  in  which  he 
surreptitiously  corrals  an  unguarded 
bottle  and  untouched  so  far  as  he  is 
concerned  slips  it  into  his  pocket 
there  is  no  evidence  he  knows  the 
taste  of  liquor. 

While  the  screen  abstention  will 
result  in  less  robust  fun  for  the  world- 
ly minded  there  is  no  question  the 
producer  or  whoever  is  responsible  for 
the  policy  adopted  displayed  the  part 
of  discretion.  Probably  Rogers  him- 
self had  much  to  say  about  the  mat- 
ter. 

Louise  Dresser  shares  honors  with 
the  star.  She  is  one  woman  player 
who  always  seems  more  concerned 
about  playing  the  part  as  its  designers 
intended  rather  than  sacrificing  the 
characterization  in  order  she  may 
"look    pretty." 

Helen  Cohan  is  the  charming  daugh- 
ter of  the  Joneses  and  well  plays  her 
part.  Joel  McCrea  is  John  Marvin, 
the  law  student  and  mentor  of  Bill  in 
his  fight  to  hang  on  to  his  property. 
McCrea  acquits  himself  most  credit- 
ably. 

One  young  man  who  will  create  at- 
tention is  he  who  is  cast  as  the  hus- 
band of  the  divorcee  and  who  follows 
her  west  to  induce  her  to  change  her 
mind.  His  front  elevation  would  seem 
to  indicate  favorable  attention.  Ref- 
erence is  to  Rex  Bell,  not  unknown  to 
casual  first  page  mention  recently  as 
the  friend  of  one  also  not  unknown 
to  regular  first  page  mention.  After 
seeing  the  boy  the  fondness  for  him  of 
the  first-page  girl  is  quite  under- 
standable. 

Then  there  are  J.  M.  Kerrigan  as 
Lem  Townsend,  a  judicial  judge  even 
as  he  seems  to  be  versed  in  the  ways 
of  the  lover;  Jason  Robards  as 
Thomas,  an  unscrupulous  lawyer; 
Ruth  Warren  as  Margaret  Davis,  who 
upsets  the  court  or  rather  the  specta- 
tors by  reminding  the  judge  of  a  thing 
or  two;  Frank  Campeau  as  the  sheriff; 
and  Luke  Cosgrave  as  an  attache  of 
the  hotel. 

Henry  King  directed  with  fine  skill 
and  judgment  a  picture  that  ranks 
high  in  entertainment  qualities  with 
a  sequence  at  the  end  that  steps 
quickly  from  the  realm  of  comedy- 
drama  to  straight  drama  of  the  stern 
variety — and  to  the  possible  accom- 
paniment of  a  lump  in  the  throat. 


THE  DEVIL  TO  PAY 

George  Barnes  and  Gregg  Toland 
Cameramen 

DELIGHTFUL  is  the  word  indi- 
cated in  speaking  of  Ronald 
Colman's  "The  Devil  to  Pay," 
produced  by  Sam  Goldwyn  and  shown 
during  February  at  the  United  Art- 
ists Theatre  in  Los  Angeles.  If  the 
dialogue  as  well  as  the  story  Fredrick 
Lonsdale  here  gives  us  is  a  fair  speci- 
men of  English  humor  then  indeed 
has  that  particular  something  been 
scandalously  maligned  in  the  past. 
And  it  must  be  added  that  if  Bar- 
ney Glazer,  who  adapted  the  work  for 
the  screen,  did  nothing  to  enhance  the 


humor — which  is  unlikely — then  he 
had  the  unprecedented  motion  picture 
discretion  and  courage  to  leave  it 
alone. 

The  whole  tale  sparkles  to  the  eye 
and  crackles  to  the  ear.  It  is  sophisti- 
cated classicism  that  the  lower  order 
of  wisecracker  will  "get  the  first 
time,"  even  as  he  marvels  at  his  own 
unexpected  perspicacity  in  grasping 
these  "fast  ones"  of  the  erudite. 

It  is  a  new  Colman  that  will  be 
noted  by  those  who  for  one  reason  or 
another  have  not  seen  him  in  recent 
years.  He  has  grown  marvelously  in 
his  elasticity,  in  his  adaptability  to 
lighter,  even  frolicsome,  roles — and 
"The  Devil  to  Pay"  in  many  ways 
is  a  continued  frolic. 

There's  drama,  too,  interspersed  in 
the  story — surely  enough  serious  stuff 
of  the  kind  that  gives  birth  to  sus- 
pense— but  the  characterization  of 
Colman  runs  true  to  form,  the  audi- 
tor speedily  is  lifted  out  of  the  uneasy 
chair  and  again   is  in   holiday  mood. 

Several  players  notably  share  the 
honors  with  Colman.  One  whose 
portrayal  is  outstanding  is  Frederick 
Kerr,  who  draws  for  us  the  part  of 
Lord  Leeland,  father  of  irresponsible 
Willie  Hale,  the  likable  ne'er-do-well 
at  the  top  of  the  cast.  He's  just 
simply  great,  that's  all,  as  any  man 
who  ever  had  a  son  or  hoped  to  have 
one  very  likely  will   agree. 

The  women  bulk  heavily  in  this 
story.  Loretta  Young  has  the  part 
of  Dorothy  Hope,  who  falls  in  love 
with  Willie  when  she  first  meets  him 
on  the  morning  preceding  the  even- 
ing when  her  engagement  otherwise 
is  to  be  announced  formally. 

Florence  Britton  is  seen  as  Willie's 
sister,  who,  like  her  own  father,  is 
fond    of    Dorothy    and    does    nothing 


to  hinder  the  furthering  of  the  new 
acquaintance.  Myrna  Loy  is  Mary 
Cragle,  reputable  actress  friend  of 
Willie  who  breathes  dire  things 
against  any  one  even  threatening  to 
come  between  them.  David  Torrence 
is  the  almost  irreconcilable  father  of 
Dorothy.  These  and  others  are  most 
creditably  chosen  for  their  appointed 
work. 

George  Fitzmaurice  directs  this 
story  of  English  life— and  does  it 
with  such  finesse  that  the  average 
American  will  emerge  from  under  it 
without  experiencing  the  feeling  that 
somehow  the  King's  English  must  be 
a  foreign  tongue.  In  this  connection 
Ivan  Simpson  is  credited  as  dialogue 
coach. 

Richard  Day  is  art  director— and 
his  department  is  an  added  factor  of 
merit  in  the  production. 


TRADER  HORN 

Clyde   De   Vinna,   Cameraman 

FOR  the  second  time  at  least  in 
recent  years  the  Metro  organiza- 
tion has  gambled  in  a  big  way  on 
its  judgment  as  to  the  inherent  pic- 
ture qualities  in  a  story.  The  first 
instance  was  "The  Four  Horsemen." 
The  second  is  "Trader  Horn." 

The  late  Marcus  Loew  publicly  made 
the  statement  more  than  once  that 
his  theatre  organization  was  all  set 
to  throw  Metro  Pictures  overboard 
as  an  impossible  investment  when  the 
decision  was  reversed  following  the 
phenomenal  success  of  "The  Four 
Horsemen." 

If  during  the  mild  furore  over  the 
story  of  old  man  Trader  Horn  there 
was  any  wild  bidding  on  the  part  of 
producers  to  secure  the  screen  rights 

(Continued  on  Page  36) 


Here  is  what  Mr.  Kains  describes  as  a  Grandfather  Joshua,  photographed  in 
the  same  colony  as  was  its  companion  picture 


Twelve 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


era 


IRA  HOKE 


Whatta   Whopper 

A  certain  movie  star  we  know  jok- 
ingly gives  this  as  her  definition  of  a 
press  agent. 

"A  press  agent,"  says  she,  "is  a 
smart  Hollywood  boy  who  can  take  a 
fragment  of  truth  and  make  a  large 
convincing  lie." 


Gentlemanly  Profession 

Tillie — Pappa  is  immensely  glad  to 
hear  that  you  are  a  cameraman. 

Maury   (proudly) — Is  he? 

Tillie— Oh,  very!  The  last  of  my 
boy  friends  he  tried  to  throw  out  was 
an  amateur  boxer. 


Hold  'Er  Newt 

Hatto  Tappenbeck,  who  recently 
photographed  Europe  from  Aberdeen 
to  Zossen  for  Fox  News,  says  their 
propertyman  once  imbibed  too  freely 
of  Tuscany  wine  and  then  kept  his 
shoulder  against  the  Leaning  Tower 
of  Pisa  all  night  to  keep  it  from  top- 
pling over. 

Ain't  Love  Grand? 

Bob  McLaren — Why  does  a  red- 
headed woman  always  marry  a  meek 
man? 

Bob  Bronner — She  doesn't.  He  just 
gets  that  way. 


A  Sure  Thing 

Art  Reed  says  a  chorus  girl  who 
lives  in  his  block  is  in  love  with  the 
postman,  so  she  writes  herself  a  note 
every  day  to  make  sure  he  will  call  on 
her. 


Police  11  pholster    Wagon 

News  item:  During  the  parade  on 
Hollywood  Boulevard  one  of  the  cov- 
ered wagons  was  lost,  but  was  later 
recovered  by  the  police. 


Another  Amendment 

A  certain  druggist  we  know  who 
has  been  selling  whisky  and  gin  since 
1920  was  arrested  last  week  for  using 
oleomargarine  on  his  soda  fountain 
sandwiches. 


Sound   Department   Notice 

First  Negative  Developer — My  as- 
sistant whistles  while  he  works. 

Second  Negative  Developer — You're 
lucky.      Mine  only  whistles. 


100  Percent  I.   A. 

Henry  Prautsch  was  waiting  in 
the  living  room  of  his  girl's  home  the 
other  evening  while  the  sweet  young 


thing  was  completing  her  hairdress- 
ing,  etc.,  etc.  Henry,  to  pass  the 
time,  engaged  her  kid  brother  in  con- 
versation. 

Henry — Is  Betty  vour  eldest  sis- 
ter? 

Kid  Brother — Yep. 

Henry — And  who  comes  after  her? 

Kid  Brother — You  and  a  Lab  man 
and  an  Electrician. 


Better  Late  Than   Never 

Fresh  Assistant  (to  second  cam- 
eraman)— I  suppose  the  boss  was  an- 
noyed when  you  told  him  I  was  leav- 
ing next  week? 

Second  Cameraman — I'll  say  he 
was.     He  thought  it  was  this  week. 


Sign  of  the  Times 

Sign    on    collegiate    auto:     "Drive 
Slow.     Death  is  so  Permanent." 


Slightly    Diffused 


Hon.  Howard  Hurd, 
Business  Representative, 
Location  659. 
Hon.   Sir  &  Dear  Brother: 

To  day  I  make  terrible  un-focus 
of  scenery  being  shot  by  my  Hon. 
first  cameraman.  I  am  very  first 
class  Japanese  asst.  &  affection 
my  position  greatly  and  my  dis- 
heartening is  immense  in  this  un- 
focus  accident.  I  am  opinion  dis- 
aster was  causing  by  my  unworthy 
eyes  being  distracted  from  lens 
mounting  marks  by  very  beautiful 
ladies  in  chorus  short  skirts  being 
kicked   high   by   dancing. 

As  full  payment  membership  in 
Location  659  Union  with  four 
stamps  in  green  book  in  my  pants 
pocket,  I  make  unworthy  but  hear- 
tily plea  to  Hon.  Bus.  Rep.  to 
please  introduce  new  rule  to  com- 
pel chorus  ladies  to  wearing  blue 
overalls  like  cowboys,  so  camera 
assts.  with  green  cards  do  not  mis- 
focus  scenery  of  camera.  I  am 
certainly  producers  will  welcome 
this  new  law  as  because  blue  over- 
alls are  much  cheaper  than  silk 
stocking  and  last  very  many  times 
longer. 

My  Hon.  first  cameraman  is  con- 
siderably angry  with  me  becaus- 
ing  of  misfocused  scenery.  Hop- 
ing you   are   same   I   remain, 

I.  Cheekee  Koko. 


Suppose  Again 

Cameraman — Jimmie,  go  and  fetch 
the  oldest  camera  in  the  vault  for 
this  test. 

Assistant — Why  the  oldest  one, 
Boss? 

Cameraman — Wear  out  the  old 
ones  first.     That's  my  motto. 

Assistant — Well,  Boss;  then  sup- 
pose you  fetch  the  camera. 

Whatta  Lotta  Nerve 

Cameraman — You  just  had  two 
weeks  between  pictures.  Why  do  you 
wish  the  day  off  tomorrow? 

Assistant — Well,  you  see,  boss,  I 
met  a  girl  last  week  and  we  had 
planned  to  get  married  tomorrow,  and 
I  would  kinda  like  to  be  there. 

A  Born   Diplomat 

Cutter  Girl— How  old  do  you  think 
I  am? 

Cameraman — You  don't  look  it. 

These  Hard  Times 

Jimmy  the  assistant  says  there  are 
only  twelve  months  of  the  year  in 
which  it  is  unlucky  to  get  married. 

Gold  Digger 

A  chorus  girl  can't  always  live  on 
the  salary  she  gets,  but  it  helps  a  lot. 


Paris  Has  Rental  Studio 

Trade  Commissioner  George  R. 
Canty  of  Paris  reports  that  at  La 
Garenne,  just  outside  Paris,  a  new 
sound-film  studio  has  been  opened, 
which  is  to  be  rented  to  producers.  It 
is  insulated  by  an  American  (Ban- 
roc)  system,  and  equipped  with  Pe- 
tersen-Poulsen  sound  recorders. 


So  the  Deaf  May  Hear 

Three  more  theatres  have  con- 
tracted for  the  installation  of  West- 
ern Electric  audiphones  to  aid  the 
hard  of  hearing  to  enjoy  talking  pic- 
tures. They  are  the  Million  Dollar 
Theatre,  Los  Angeles;  the  National 
Theatre,  Louisville,  and  the  Fox  Wil- 
shire  Theatre  in  Los  Angeles.  Each 
is  being  wired  for  thirty  seats. 


American  Displaces  Klang 

According  to  certain  reports  Yugo- 
slavia now  has  31  wired  houses  in  21 
cities.  It  may  be  noted  that  a  Klang- 
film  set  has  been  taken  out  of  the 
Europe  Palace  Kino,  Zagreb,  and  re- 
placed by  an  American  set. 


You'd   Be  Surprised 

Laboratory  Man —  I  hear  that 
Mamie,  the  cutter  girl,  is  marrying 
that  X-ray  photographer. 

Sound  Man — Oh,  Yeah?  What  can 
he  see  in  her? 


Ufa   Expanding 

Ufa  has  commenced  the  construc- 
tion of  a  film  copying  institution  to 
complete  its  production  plant  in  Neu- 
babelsberg.  This,  it  is  stated,  is  only 
the  first  step  toward  an  important 
extension  of  this  plant. 


<9*"fel 


Qream  oth  Stills 


c9*?L'°+ 


"Qitien   sa 
Grenbeaux  j 


'jibe?"   ("Who   knows?")   asks   this    well-remembered  character  man  of  another  decade   when   Paul 
x  just  before  transferring  these  striking  features  to  a  photographic  plate  asked  a  leading  question 


,***r'<v 


'°6K,r 


Qream  oth Stills 


.f-^'CU. 


OCRN^ 


Up  in  the   Yosemitc 
Mack  Elliott 
shoots   this   brilliant 
reproduction  of 
towering    El 
Capitan,  its 
frowning   and   sheer 
walls    reflecting 
the  rays   of   the 
photographer's   best 
friend — Old  Sol 


William   Grimes 

shows  us  the  Grand 

Canyon,    not    only 

those  portions  of 

it   near  the 

camera,   but   with 

almost  equal 

clearness    catches 

the  erosions  at 

the  crest  of  the 

gulch  in  the 

far   distance 


»*"&* 


"ocul* 


@ream  a  t h S tills 


C*t*L'°A, 


Emmet t 

Schoenbaum   takes 

pleasure   in    teasing 

his  fisherman 

friends,    the   chasers 

after   trout,   for 

example.      Here 

is  one  of  his 

favorite   irritators, 

this  view  of  Tioga 

Lake   at   the 

summit    of 

Tioga  Pass 


Otto  Dya/r  records 

the  slow 
devastaton  of 
Father  Time  as  he 
found  it  in 
Monumental    Valley 
— aided  and  abetted 
by  old  man  Water 
as  persistently 
and  inevitably 
he  keeps  right  on 
seeking  his  level 


tfO* 


<l\r 


(7,  ream  at  ft  Stills 


^^L'Oa. 


Here's  one  of  the  stately  treasures  brought  out  of  Antelope  Valley  by  Ned  Van  Buren.     The  artist  special- 
ises in  desert  stuff,  of  which  fact  this  subject   is   an   eloquent   partisan    in    confirmation 


March,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirteen 


New  Universal  Laboratory  Opens 

Half  Million  Dollar  Structure   Represents   Two 

Years  Preparation  and  Contains  Latest 

Advances  in  Equipment 


UNIVERSAL's  half  million  dollar 
two-story  and  basement  labora- 
tory, on  the  designing  and  con- 
struction of  which  C.  Roy  Hunter  and 
his  associates  have  labored  for  two 
years,  was  formally  opened  February 
16  for  business.  While  not  entirely 
completed  at  that  time,  many  of  the 
departments   were   functioning. 

The  structure  as  an  institution 
represents  not  only  all  the  most  ap- 
proved appliances  known  to  outside 
laboratory  progress  but  also  the  last 
word  in  UniversaPs  own  advance  in 
a  department  of  film  work  that  for 
years  has  been  known  as  that  stu- 
dio's chief  specialty.  The  laboratory, 
which  in  itself  covers  an  area  75  by 
117  feet,  really  is  three  buildings  in 
one,  as  included  in  its  operation  and 
joined  to  it  are  the  camera  and  neg- 
ative cutting  departments. 

Notable  among  these  devices  will 
be  the  Hunter-Pierce  developing  ma- 
chine. Of  these  there  will  be  eight, 
two  rooms  containing  three  each  and 


the  third  two,  these  latter  of  differ- 
ent design.  Any  one  of  the  six  has  a 
capacity  of  7500  feet  hourly  for  ei- 
ther positive  or  sound  track  and  of 
3500  feet  hourly  for  negative.  These 
figures  mean  that  each  machine  in  a 
full  24  hours  would  handle  180,000 
feet  of  positive. 

At  the  present  time  it  is  not 
planned  to  crowd  these  machines,  the 
schedule  calling  for  alternation  of  use 
in  this  equipment,  thereby  allowing 
full  opportunity  for  maintaining  the 
highest  degree  of  efficiency. 

May  Add  Two   Stories 

Each  machine  is  attended  by  one 
man,  with  a  foreman  in  charge  of 
each  unit  of  three.  Universal  is  not 
at  this  time  making  release  prints  on 
the  studio  lot.  Provision  has  been 
made  in  the  laboratory's  construction 
plans  so  that  if  in  the  future  there 
may  be  a  change  of  mind  in  this  re- 
spect two  more  stories  may  be  added 
without    necessitating    any    structural 


C.  Roy  Hunter 


Universal' 8  new  laboratory  and  its  entire  personnel 


Fourteen 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


safety  as  well  as  convenience  in  the 
handling  of  film  has  been  incorporated 
in  the  designs.  Between  the  inspec- 
tion room  and  the  raw  stock  storage 
vault,  for  instance,  there  are  heavy 
steel  doors.  The  end  of  the  vault  op- 
posite the  entrance  faces  a  funnel  or 
chute  leading  to  the  wide  world.  By 
the  side  of  the  heavy  door  leading  in- 
to the  vault  is  a  breakaway  card- 
board door  to  the  same  outside  in 
case  for  any  reason  it  be  necessary 
for  some  one  to  use  it. 

One  of  the  features  of  the  build- 
ing's design  is  the  avoidance  of  the 
necessity  or  possibility  of  stacking 
large  quantities  of  film  in  work- 
rooms. Full  use  is  made  of  dumb- 
waiters for  conveying  film  from  ons 
department  to  another,  with  the  rou- 
tine so  arranged  the  film  never  dou- 
bles on  its  appointed  track. 

Another  major  factor  in  the  lab- 
oratory is  the  generating  plant  in  the 
basement  which  supplies  juice  for  the 
lights  in  the  developing  and  printing 
machines  as  well  as  for  the  illum- 
ination of  the  structure.  This  plant  is 
powered  by  a  Diesel  motor.  In  the 
rare  event  "anything  should  go  wrong 
with  the  Diesel  the  power  automat- 
ically is  switched  to  an  outside  Ed- 
ison" line.  Against  the  most  remote 
contingency  both  of  these  simultane- 
ously should  be  thrown  out  of  oper- 
ation there  still  remains  for  instant 
use  the  studio  generating  plant  on 
which  to  call. 

Company  a  Builder 

In  pursuing  its  policy  of  doing  much 
of  its  own  manufacturing — the  larger 
part  of  the  studio's  reproducing 
equipment  for  its  own  projection 
rooms  was  made  right  on  the  lot — 
the  company  has  built  besides  the  de- 
veloping machines  its  optical  print- 
ers and  special  duping  printer. 

To  prevent  entrance  of  dust  into 
the  structure  the  air  conditioning  and 
refrigerating  system  in  the  basement 


supplies   a   continual   air  pressure   on 
the  exits. 

On  the  main  floor  is  a  large  recep- 
tion room  and  secretarial  office  as 
well  as  the  office  of  the  laboratory 
chief.  On  the  same  floor  are  the  op- 
tical printer  and  trick  departments, 
three  developing  machine  rooms,  a  re- 
ceiving and  shipping  department  and 
the  continuity  room. 

In  this  last  named  department  are 
prepared  for  the  exchanges  the  exact 
details  entering  into  the  photographic 
action  recorded  on  the  film.  A  girl 
sits  at  a  typewriter  placed  in  front 
of  a  glass  screen  on  which  from  be- 
hind is  projected  the  picture  to  be 
described. 

The  operator  not  only  sets  forth 
the  details  of  the  action,  the  partic- 
ular sounds  other  than  conversation, 
with  the  exact  language  of  the  iden- 
tified character,  but  also  the  length  in 
feet  and  frames  of  each  sequence. 
This  data  is  useful  to  the  exchanges 
in  ordering  replacement  of  film  and 
also  for  the  convenience  of  censors 
in  examining  films.  As  a  matter  of 
fact,  the  majority  of  censors  require 
copies  of  all  dialogue.  In  the  contin- 
uity room,  too,  is  done  the  translating 
into  various  languages. 

A  Three-Way  Screen 

On  the  second  floor  are  the  print- 
ing, assembling  and  testing  rooms  for 
both  positive  and  negative.  There  are 
two  reviewing  rooms,  the  larger  of 
which  is  something  of  a  novelty  to  a 
lavman.  Here  a  wide  screen  extends 
across  the  end  of  the  room.  Opposite 
each  half  of  screen  surface  is  a  pro- 
jector, one  interlocked  with  the  other. 
Here  two  prints  of  the  same  picture 
may  be  run  at  the  same  time,  frame 
for  frame,  so  comparison  between  the 
two  may  be  made. 

If  it  be  desired  to  project  a  picture 
on  the  full  wide  screen  a  center  pro- 
jector is  geared  for  that  purpose. 


On  this  floor  also  is  the  film  clean- 
ing room,  where  are  situated  the  pol- 
ishing and  waxing  machines  for  neg- 
ative. Here,  too,  are  the  edge  num- 
bering devices,  something  out  of  the 
ordinary. 

The  air  in  the  drying  chamber  is 
automatically  controlled  to  within  a 
single  degree  for  both  temperature 
and  humidity  and  the  developing  so- 
lutions are  maintained  within  a  half 
degree.  A  recording  hydrometer  keeps 
close  tabs  on  the  situation  at  all 
hours. 

Robert  Pierce,  laboratory  superin- 
tendent and  associated  with  Roy  Hun- 
ter in  the  development  of  film  devices, 
has  his  office  on  this  floor.  Here,  too, 
are  the  two  Dupont  processing  ma- 
chines for  protecting  the  coating  of 
celluloid  on  sound  pictures. 

In  the  gamma  room  are  conducted 
all  tests  and  checking  of  film  for  con- 
sistency and  sensitivity,  etc.  One  of 
the  interesting  machines  in  this  room 
is  the  Ybarrondo  motion  picture  film 
lightometer.  What  it  will  do  is  not 
for  a  layman  to  describe — but  it  is 
plenty. 

In  the  basement  are  twenty-live 
tanks  ranging  in  capacity  from  200  to 
600  gallons.  Three  of  the  larger  mix- 
ing tanks  are  glass  lined — but  the 
glass  is  burned  into  the  metal.  There 
is  a  testing  room  for  all  chemicals. 
Two  large  oil  burning  boilers  supply 
heat. 

In  the  Diesel  generator  room  one 
of  the  walls  is  lined  with  remote  con- 
trol switches.  Every  known  precau- 
tion has  been  taken  to  avoid  the  pos- 
sibility of  creating  a  spark  which  has 
not  been  properly  introduced. 

A  passenger  elevator  automatically 
operated  contributes  to  the  conveni- 
ence of  employes. 

On  March  16  of  this  year  Mr.  Hun- 
ter will  complete  fifteen  years  in  the 
service   of   Universal. 


At  the  left  is  the  walkway  between  the  Hunter-Pierce  developing  machines.   In  the  center  is  the  loading  and  receiving 
end,  and  on  the  right  is  the  return  end  showing  the  film  travel  from  tank  to  dryer. 


March,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Fifteen 


Faster  Panchromatic  Negative  Film 
Being  Produced  by  Du  Pont  Pathe 


THE  Du  Pont  Pathe  Film  Manu- 
facturing Corporation  announces 
a  new  high-speed  panchromatic 
negative.  The  product,  according  to 
the  official  statement,  retains  the  same 
"color  balance,  fine  grain  and  latitude 
of  the  former  negative,  and  the  ex- 
treme sensitivity  allows  a  material  re- 
duction in  lighting." 

Dr.  V.  B.  Sease,  director  of  the  Du 
Pont  Redpath  Laboratory  in  the  East, 
remarked  just  prior  to  his  return 
home  after  a  month's  visit  in  Holly- 
wood that  the  company  long  had 
felt  the  industry  would  be  better 
off  if  it  were  required  to  employ  less 
lighting,  not  so  much  for  the  saving 
of  current,  although  that  was  an  item, 
but  for  the  added  comfort  of  the 
workers  on  the  stages. 

It  has  been  the  objective  of  the 
company,  Dr.  Sease  said,  to  secure  a 
faster  emulsion  without  changing 
color  balance,  grain  size  or  the  lati- 
tude which  it  had  been  felt  was  so  de- 
sirable in  the  negative. 

Furthermore,  the  doctor  said,  the  in- 
crease in  speed  affected  the  camera- 
man's factors  only  in  so  far  as  he  was 
required  to  adapt  himself  to  new 
levels,  as  he  is  working  on  the  same 
product. 

There  is  sufficient  stock  of  the  new 
high  speed  panchromatic  on  hand  for 
testing  purposes,  the  doctor  said,  add- 
ing that  one  company  was  going  into 
production  with  it.  Already  some  of 
the  stock  had  been  sold  for  special 
work,  like  night  shots  and  Broadway 
stuff. 


Hunter  Goes  on  Tour 

C.  Roy  Hunter,  in  charge  of  the 
sound  department  at  Universal  stu- 
dio, will  leave  for  the  East  on  March 
7  on  a  trip  which  will  take  him  to  ev- 
ery large  film  laboratory  and  releas- 
ing plant  in  the  United  States  and 
Canada. 

His  purpose  will  be  to  discuss  the 
new  Hunter  -  Pierce  -  Universal  film 
processing  equipment.  He  also  will 
visit  the  Eastman,  Agfa  and  Dupont 
factories  in  connection  with  a  new 
processing  idea,  now  being  worked 
out  in  the  Universal  laboratory. 

"If  successful,"  says  Hunter,  "this 
new  plan  will  revolutionize  present 
film  processing.  This  method  neces- 
sitates an  entirely  new  type  of  film 
and  will  not  only  improve  film  qual- 
ity but  will  reduce  costs  in  many 
ways." 


I\ew  Sound  Reproducer 

Gaumont  -  Franco  -  Film  -  Aubert 
announces  the  production  of  a  new 
sound  reproducer,  the  Radio-Junior. 
This  apparatus,  which  presents  the 
best  features  of  the  Ideal  Sonore 
Gaumont  and  the  Radio  Cinema  pro- 
jectors, is  designed  for  small  halls.  It 
will    be    sold    outright,    including    in- 


stallation, at  a  price  which  is  not  yet 
named.  Incidentally  Louis  Nalpas  also 
has  announced  a  Junior  apparatus. 


Soutul  Pictures  and  Business 

J.  E.  Otterson,  president  of  Elec- 
trical Research  products,  was  guest 
speaker  before  the  Illinois  Manufac- 
turers' Association  at  the  La  Salle 
Hotel,  Chicago,  February  27.  His  sub- 
ject was  "  Sound  Pictures  in 
Business." 


To  Exploit  Color 

A  company  has  been  founded  un- 
der the  name  of  Societe  Cinechrome, 
with  a  capital  of  55,000  francs,  for 
the  exploitation  of  a  color  film  inven- 
tion. The  founders  are  Raphael  Weill 
and  Eugene  Rivoche. 

Another  French  company  has  been 
organized  under  the  name  of  Cine- 
Photo-Monde,  for  the  exploitation  of 
a  technical  photographic  invention  by 
Emile  Pelliccioni. 


Weekly  Joins  Federation 

British  Movietone  News,  Limited, 
has  been  elected  member  of  the  Fed- 
eration of  British  Industries.  It  is 
thus  the  first  newsreel  company  to 
become  a  member  of  the  Federation. 


Audio-Camex 

Sound-on-Film  Recording 

System 

Originator  of 

Direct   Current    Interlocking  Motors 
Operating   on    B    Batteries 

And  which  now  are  successfully 
working  in  the  field 

Sole  Distributors  for  This  System 


iiAMEPA  Exchange 

^_y  CABLEHOCAMEX-1511  CAHUENGABLVD-PHONEHO943I 


.Sixteen 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  19.31 


fVhere  Death  Stalked 


A 


LVIN    WYCKOFF    has    returned    from    a 

journey    into    Death    Valley    bringing    with 

him    two    reels    of    film    in    Multicolor,    a 

goodly  number  of  reels  of  16  mm.  film  and  also 

many  still  negatives. 

Behind  the  trip  was  the  fundamental  thought 
of  demonstrating  how  completely  modern  inven- 
tion and  perseverance  have  subjugated  the  terrors 
of  one  of  the  world's  worst  spots. 

Among  the  personal  stills  shot  by  the  president 

of   the    west    coast    International    Photographers 

we  have  made  selections  for  reproduction  on  this 

page.     In  the  left  panel,  reading  down,  is   (1)   a 

view   from    Zabriskie    Point;    (2)    what  was   the 

bank  of  Rhyolite,  one  of  the  ghost  boom  towns 

near  the  valley   which   had  a   population  at  one 

Alvin  Wyckoff         time  of  5000  persons;   (3)  large  deposits  of  borax 

near  Furnace  Creek  Wash;    (4)  gorge  in  Golden  Canyon  the  colors  of 

which  undergo  changes  according  to  the  sun. 

In  the  panel  on  the  right  are  (1)  a  scene  of  Furnace  Creek  ranch, 
below  sea  level,  on  which  are  grown  what  are  reputed  to  be  the  finest 
dates  in  the  world;  (2)  Johnny  Mills,  who  has  lived  on  the  desert  for  34 
years,  is  explaining  to  a  tourist  all  about  the  salt  pool  shown  in  fore- 
ground; (3)  tramping  a  mile  over  rough  country  of  glasslike  sharpness 
from  the  above  pool  back  to  the  roadway  and  automobiles;  (4)  veranda 
of  Armagosa  Hotel  at  Death  Valley  Junction. 

In  the  upper  row  are  (1)  Furnace  Creek  Inn  with  swimming  pool 
about  30  by  75;  (2)  view  from  veranda  of  hotel;  (3)  view  from  steps 
of  Furnace  Creek  Inn  overlooking  valley;  (4)  Death  Valley  Scotty's 
castle,  representing  the  expenditure  of  several  million  dollars  and  sit- 
uated seventy-five  miles  from  a  railroad  station. 

The  lower  row  contains  (1)  borax  deposits;  (2)  guest  house  at 
Death  Valley  Scotty's;  (3)  Golden  Canyon,  a  few  miles  south  of  Fur- 
nace Creek  in  Black  Mountains;  (4)  entrance  to  Golden  Canyon  from 
Death  Valley. 


March,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Seventeen 


Luxury  Now  Reigns 

The  Multicolor  subject  was  shown  at  the  Eastman  theatre  in  Santa 
Monica  Boulevard  following  its  assembling,  its  fidelity  to  the  original 
being  complimented  by  several  persons  in  the  small  audience  intimately 
acquainted  with  the  territory. 

The  picture  opens  with  a  sunrise  in  Death  Valley.  There  are  quite  a 
number  of  views  of  Death  Valley  Junction  and  of  its  Armagosa  Hotel 
with  its  corridor  as  long  as  a  good  golf  drive. 

Then  the  camera  is  taken  to  Dante's  View,  where  from  an  elevation 
of  6000  feet  the  Valley  slips  down  to  a  point  310  feet  below  sea  level. 
There  is  a  panoramic  shot  of  the  Black  Mountains  from  Zabriskie 
Point.  Then  comes  a  shot  of  Furnace  Creek  wash,  the  old  trail  of 
emigrants  in  the  early  days. 

There  are  views  of  Twenty  Mule  Canyon,  of  Golden  Canyon,  of  the 
Devil's  Golf  Course  with  its  fifty  square  miles  of  salty  crust  running 
in  thickness  from  25  to  500  feet.  There  is  an  interesting  shot  of  one 
of  the  salt  pools,  perhaps  ten  feet  in  circumference,  the  result  of  the 
air  perforating  the  surface  and  allowing  the  water  to  come  through. 

Death  Valley  Scotty's  castle,  situated  near  the  northern  terminus  of 
this  150-mile  strip  of  sand  and  75  miles  from  any  railroad,  is  shown. 
Nine  years  already  have  gone  into  the  building  of  this  structure  for 
the  furnishings  of  which  the  markets  of  the  world  have  been  drawn  on. 
One  of  the  features  of  the  castle  is  a  pipe  organ,  said  to  be  one  of  the 
finest  in  the  world.  Guests  in  any  room  in  the  house  may  tune  in  on 
it  or  they  may  tune  out. 

Independent  of  the  main  structure  is  the  guest  house,  most  luxu- 
riously fitted  and  furnished. 

Flashes  are  shown  of  parts  of  the  sixty  square  miles  of  shifting  sand 
dunes.  There  are  many  shots  of  Stove  Pipe  Wells  Hotel,  noted  for 
its  excellent  meals  and  real  hospitality.  The  hotel  and  its  bungalows 
are  the  result  of  the  work  of  its  managers,  Mr.  and  Mrs.  Eichbaum. 

One  of  the  features  of  the  subject  is  the  Furnace  Creek  Inn,  situated 
on  the  eastern  side  of  the  valley  on  sea  level  and  at  the  foot  of  Furnace 
Creek  Wash.  Miss  Kathryn  Ronan  is  the  hostess  responsible  for  an 
atmosphere  of  comfort  and  hospitality  equaling  that  of  any  hotel  of 
which  he  has  knowledge,  declares  the  cameraman. 


Eighteen 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


Stills  Are  Not  Affected  By  Talkers 


Remain  Only  Effective  Means  of  Conveying  to 

Exhibitors  Chief  Characteristics  of 

Films  Offered  for  Showing 

By  "A  Tripod  Man"  in  London  Bioscope 


THE  arrival  of  the  talking  pic- 
ture has  disorganized  most 
things  in  the  film  trade,  but  it 
is  surprising  how  little  they  have  af- 
fected the  work  of  the  "still"  camera- 
man. In  the  old  silent  days  the  still 
was  perhaps  the  chief  selling  aid  of 
the  film  salesman. 

With  a  bundle  of  these  in  his  pocket 
it  did  not  very  much  matter  whether 
the  exhibitor  had  or  had  not  seen  the 
trade  show  of  the  film  in  question. 
Here  were  the  high  lights  of  the  film. 
Here  were  some  of  the  comedy  situa- 
tions; here  was  the  chief  comedian  in 
this  or  that  plight. 

On  the  whole  the  stills  did  give  to 
an  experienced  exhibitor  a  pretty  fair 
idea  of  what  might  be  expected  in  the 
film  itself.  They  gave  him  an  ink- 
ling of  the  scale  on  which  the  pro- 
duction had  been  staged.  They  gave 
him  several  useful  hints  as  to  the 
general  character  of  the  story.  He 
could  pick  out  pretty  clearly  what 
were  the  chief  selling  points  of  the 
film  in  question,  so  far  as  his  public 
was  eonceimed. 

Breaking  "Still"  Man's  Heart 

A  still  of  Mack  Sennett's  beauties 
was  a  fair  indication  how  much  was 
to  be  seen  of  the  latest  captures  of 
that  connoisseur  in  female  beauty.  A 
still  of  the  daring  climax  of  the  com- 
edy told  him  that  here  was  a  film 
which  had  all  the  elements  of  knock- 


about relief  and  excitement.  It  be- 
came a  matter  of  terms. 

But  here  are  the  "talkies"  on  us 
and,  to  date,  more  than  75  per  cent, 
of  the  value  of  the  talking  film  has 
lain  in  the  quality  of  its  talk.  What 
is  the  use  of  a  still  photograph  to 
a  film  of  this  kind?  How  can  it  sell 
a  film  to  an  exhibitor  when  the  chief 
attractions  of  the  film  are  not  photo- 
graphable?  How  in  all  the  world 
can  you  expect  the  still  photograph 
to  make  a  snappy  selling  still  of  a 
modern   talking  picture? 

Most  of  the  time  the  dialogue — wit- 
ty as  it  may  be,  takes  place  with 
the  characters  standing  heavily  about, 
simply  talking  at  each  other,  or  what 
is  worse  listening  to  each  other.  I  have 
known  a  still  cameraman  watch  in 
anguish  the  process  of  a  production 
for  over  a  third  of  its  length  with- 
out finding  one  incident  which  offered 
him    a    reasonable    chance. 

A  few  close-ups  of  attractive  faces, 
a  few  portraits  of  the  leads,  yes,  these 
were  possible.  But  any  still  picture 
with  a  punch  in  it  seemed  frankly 
impossible. 

Put  yourself  in  the  still  camera- 
man's place  and  compare  these  noisy 
groups  of  almost  stationary  actors 
with  the  sort  of  material  provided, 
say,  in  the  older  type  of  Ford  Ster- 
ling comedy. 

When  Mabel  Normand  was  dragged 
by  the  legs,  face  downward,  through 


Indicating  return  of  studio  activity  we  see  here  tangible  evidence  that  the  worst 

is  over.    The  picture  shows  the  delivery  of  part  of  an  order  of  107  Laco  lites 

to  Radio  Pictures,  or  an  addition  of  a  half  million  wattage  to  the  plant's 

former  equipment 


two  feet  of  greasy  mud,  there  was  a 
chance  for  a  still  that  exhibitors 
would  look  at  twice.  Most  of  the  old 
silent  stories  aimed  deliberately  at  a 
series  of  striking  situations  which 
were  necessarily  pictorial,  since  there 
was  nothing  else  to  rely  on. 

Stills  More  Important  Than  Ever 

But  take  a  modern  comedy  of  man- 
ners or  a  story  of  misunderstanding. 
The  whole  point  of  the  situation  de- 
pends on  a  slow  development  which 
has  been  carried  out  almost  entirely 
by  talk.  Even  when  the  climax  comes 
it  may  consist  of  a  spoken  sentence 
rather  than  a  pictorial  gesture. 

Even  the  showy  film  with  spectacu- 
lar settings  rarely  offers  more  than 
a  chance  for  some  effective  views  of 
the  set  and  some  static  groups  of 
pretty  girls.  From  the  still-taker's 
point  of  view,  nothing  ever  seems  to 
happen. 

In  the  circumstances,  one  would 
expect  to  find  that  the  still  had  rather 
fallen  off  in  favor  as  a  selling  aid;  but 
a  little  inquiry  shows  that  this  is  not 
so.  Stills  today  are,  oddly  enough, 
not  less  important,  but  more  so,  than 
in  the  old  silent  days. 

Of  course,  there  is  a  reason.  In 
the  first  place,  exhibitors  are  still 
mainly  influenced  by  the  pictorial 
side  of  a  production.  In  the  second 
place,  the  very  impossibility  of  con- 
veying any  vivid  impression  of  the 
talking  elements  in  any  given  film  has 
thrown  the  renter  back,  more  sharply 
than  ever,  on  to  his  stock  of  stills. 
"Stills"  Should  Tell  Story 

The  other  day,  in  conversation  with 
a  well-known  publicity  chief,  I  asked 
him  what  he  thought  was  the  chief 
requirement  in  an  effective  still.  "It 
is  difficult  to  say,"  he  said.  "You 
might  just  as  well  ask  me  what  is 
the  chief  requirement  in  a  successful 
film.  But  generally  I  try  to  secure 
stills  that  do  tell  a  story,  that  have  a 
suggestion  of  an  intense  situation, 
that  suggest  amusing  or  exciting  de- 
velopments and  sequences.  If  in  addi- 
tion to  these  I  can  get  a  reasonable 
amount  of  what  is  tersely  called  'sex 
appeal'  and  also  of  appealing  ro- 
mance, I  think  I  have  been  pretty 
lucky  in  my  object. 

I  know  that  these  stills  will  create 
a  good  impression  on  the  exhibitor 
if  he  has  not  seen  the  film,  that  it 
will  recall  the  action  of  the  story 
vividly  if  he  has  been  to  the  trade 
show  and  that  they  will  shout  the 
virtues  of  the  production  in  every 
foyer  and  newspaper  in  which  they 
are  exhibited. 

"I  should  hesitate  to  say  which  is 
the  most  important  single  feature  in 
a  still.  Sex  appeal  of  the  right  kind, 
with  restraint  and  discrimination,  is 
undoubtedly  a  big  puller,  but  action 
and  excitement  run  it  very  close.  A 
still  showing  Harold  Lloyd  hanging 
precariously  from  a  broken  clock  face 
200  feet  above  a  busy  street  hits  the 
bull's   eye    every   time.     You    are   not 


March,  19J1 


The    INTERNATIONAL    PHOTOGRAPHER 


Nineteen 


quite  so  sure  about  an  audacious  sexy 
still.  It  may  attract  one  patron  irre- 
sistibly, but  it  is  just  as  likely  to 
leave  another  cold. 

The  best  stills  of  all,  of  course,  are 
those  associated  with  action  comedies 
of  the  Harold  Lloyd  or  Lupino  Lane 
types,  stills  showing  thrilling  foolish 
incidents  with  apparent  realism.  Of 
course,  such  a  film  offers  the  still 
photographer  first  -  class  material, 
whereas  a  film  which  ought  to  make 
an  even  better  box-office  hit  may  come 
along  with  stills  about  as  interesting 
as  still-life  studies  of  fruit  on  a  side- 
board." 

Are  "Disc-Stills"  Coming? 

I  have  said  above  that  there  was  no 
way  of  giving  an  exhibitor  any  idea 
of  the  talking  quality  of  a  forthcom- 
ing feature.  But  this  is  not  strictly 
true.  There  is  no  way  at  present  of 
doing  this.  You  can,  of  course,  cull 
a  few  bon  mots  from  the  dialogue; 
but  they  are  usually  unimpressive 
without  their  context. 

In  conversation  with  Hugh  Findlay, 
the  able  publicity  chief  of  Gaumont 
British,  last  week,  he  outlined  a  pos- 
sible development  to  meet  this  situa- 
tion. Disc  records  are  now  being 
made  satisfactorily  of  a  flexible  light 
character.  They  are  lasting,  take 
sound  impressions  fairly  well,  and 
can  be  slipped  in  an  ordinary  en- 
velope and  sent  through  the  post 
without  injury. 

It  seems  a  probable  development 
of  the  near  future  that  the  exhibitor 
may  have  a  "disc  still"  sent  with  his 
pictorial  ones — a  light  flexible  record 
that  he  can  put  on  his  non-sync  equip- 
ment and  run  off  for  his  own  informa- 
tion and  the  edification  of  patrons  in 
the  foyer. 

"Stills"  and  Samples  of  Sound 

Such  a  disc  could  contain  attractive 
excerpts  from  the  musical  accompani- 
ment, snatches  of  interpolated  songs 
or  dances,  as  well  as  a  light  commen- 
tary on  the  story,  with  illustrative 
snatches  of  the  dialogue. 

These  records  can  be  permanently 
in  position  in  foyers  or  waiting  rooms 
and  put  in  operation  by  pressing  a 
buttom  or  striking  a  match.  In  this 
way  patrons  can  hear,  either  singly 
or  in  groups,  something  of  the  talk- 
ing side  of  the  production  already 
pictorially  displayed  in  the  stills  in 
front  of  them. 

All  things  considered,  the  still 
photographer  may  take  heart.  Not 
only  is  he  in  no  danger  of  losing  his 
job  in  the  meantime,  but  it  looks  as 
though  modern  tendencies  in  produc- 
tion will,  from  now  on,  begin  to  give 
him  better  material  for  his  pictures. 
There  is  certainly  no  sign  of  the  still 
itself  losing  favor  with  the  produc- 
ing companies;  all  the  evidence  is  to 
the  contrary. 

Flashlights   During   Production 

Technically,  of  course,  stills  have 
been  steadily  improving,  though  the 
job  of  the  still  merchant  on  the  floor 
has  been  a  trying  one  since  he  has 
been  expected  to  get  satisfactory  stills 
in  the  studio  under  difficult  conditions. 
In  this  connection  it  is  worth  while 
drawing  attention  again  to  the  flash- 


lights recently  described  in  these 
columns  under  the  name  of  Sashalite. 
Armed  with  these,  a  still-man  can 
walk  around  a  set  quietly  snapping 
pictures  of  action  in  progress  without 
any  of  the  woodenness  due  to  repos- 
ing the  artists  and  any  of  the  usual 
irritation  and  delay  to  directors.  At 
first  glance  it  might  be  thought  that 
the  unexpected  snapping  of  flashlights 
might  be  a  source  of  trouble  and  in- 
convenience, but  in  practice  it  is 
found  that  the  flash,  brilliant  though 
it  is,  is  too  brief  to  have  any  visible 
effect  on  the  film  record  and  does  not 
catch  the  eye  of  the  subject  and  dis- 
tract his  attention  as  the  old-fashioned 
powder   flashlight   would. 


Lens  Gone  Astray 

The  loss  of  an  Astro  lens,  25  mm. 
No.  6548,  has  been  reported.  Mem- 
bers of  Local  659  are  requested  to 
keep  this  in  mind  and  promptly  advise 
headquarters  of  any  information  they 
may  encounter  regarding  the  missing 
property. 


Edward   Frederick    Blackburn 

Mr.  and  Mrs.  Edward  O.  Blackburn 
are  receiving  congratulations  on  the 
birth  of  a  son  February  9  at  St.  John's 
Hospital  in  Oxnard.  Mrs.  Blackburn 
and  Edward  Frederick,  the  new  comer, 
have  made  steady  and  splendid  pro- 
gression. 


I 


ANNOUNCING 

CINEGLOW 


The  3  Element 
Recording  Lamp 

(patents   pending) 

Now  for  the  First  Time, 

Optical  Recording  on  Positive  Film. 

Full  Modulation   Without  Distortion. 

Tremendous  Volume — 

Abundant  Exposure. 

Something  New  In    Sound  Recording! 

The  three  element  principle  involves  the  use  of  a  separate  ionizing 
electrode  which  prevents,  the  lamp  from  becoming  extinguished  on 
the  lower  wave  peaks.  This  eliminates  the  harsh  and  raspy  sound 
quality  caused  by  the  '"lag"  in  re-igniting  at  full  modulation,  and 
allows  a  much  higher  recording  level,  resulting  in  far  greater 
volume    without    distortion. 

The  Cineglow  modulates  very  readily,  171A  tubes  supplying  suf- 
ficient power  for  full  modulation  with  positive  stock. 
The  Cineglow  will  record  on  positive  stock  with  an  optical  slit 
having  an  etfective  aperture  of  .00075  inches.  With  negative 
stock  the  aperture  and  lamp  current  can  be  reduced  considerably. 
The  Cineglow  illumination  is  proportional  to  the  applied  voltage, 
and  once  the  value  of  this  voltage  is  determined  for  the  desired 
exposure,  no  further  adjustments  are  necessary,  even  when  chang- 
ing to  another   Cineglow. 

The  Cineglow  can  be  used  in  place  of  a  2  element  lamp  in  a  stand- 
ard 2  element  circuit  by  merely  leaving  the  third  element  discon- 
nected. 

Instruction   and   special   circuits   supplied   with   each    Cineglow. 

PRICES 

Type   T9— 6    inches    long— $50   each 

Type   T8 — 4    inches   long — $40   each 

Special  discounts  in  quantities. 

WAIT  FOR  OUR  ANNOUNCEMENT  OF  PORTABLE  RECORD- 
ING EQUIPMENT  OF  BOTH  THE  SINGLE  AND  DOUBLE 
SYSTEMS. 

It  is  too  costly   to  record  without  Cineglow — the   Stand- 
ard  of   Quality. 


Blue   Seal   Sound   Devices,   Inc. 


12   8 


W 


4    6th 


S    t 


Twenty  The    INTERNATIONAL    PHOTOGRAPHER  March,  1931 

Eastman  Announces 

THE  GREATEST  ADVAI 
THE  INTRODUCTION  OF 

AGAIN  Eastman  takes  a  great  forward  stride  in 
JlX  emulsion  making,  with  a  motion  picture  nega- 
tive film,  the  importance  of  which  can  be  compared 
only  with  the  epoch-making  introduction  of  the 
first  Eastman  Panchromatic  Negative. 

Eastman  Super-Sensitive  Panchromatic  Negative, 
Type  2,  is  now  ready  for  you. 

Here  are  some  of  its  outstanding  characteristics: 

(1)  //  has  at  least  double  the  speed  of  previous  pan- 
chromatic emulsions.  This  remarkable  increase 
in  speed  promises  substantial  reductions  in 
lighting  expense  on  the  set,  and  added  hours 
of  shooting  time  on  location. 

(2)  It  has  an  even  finer  grain  than  Eastman  Pan- 
chromatic Negative,  Type  2. 

(3)  It  exhibits  a  very  decided,  and  very  important 
developing  latitude.  Because  of  this  quality,  the 
industry  can  be  more  confident  than  ever  of 
getting  the  finest  possible  results  in  processing. 

Eastman  Su 


March,  1931  The    INTERNATIONAL    PHOTOGRAPHER  Twenty-one 


IN  EMULSIONS  SINCE 
ACHROMATIC  NEGATIVE 

(4)  There  is  no  increase  in  price  over  that  of  Pan- 
chromatic Negative,  Type  2, 

•         •         • 

All  of  the  improvements  embodied  in  this  new 
emulsion  represent  clear  gain  to  the  industry.  For 
they  have  been  made  without  sacrificing  or  impair- 
ing any  of  the  desirable  features  of  Eastman  Pan- 
chromatic Negative,  with  which  camera  men  are 
familiar.  True  color  balance  . . .  unsurpassed  ex- 
posure latitude  .  .  .  ability  to  render  fine  shadow 
detail .  .  .  tough,  wear-resisting  base  .  .  .  splendid 
uniformity ...  all  these  qualities  are  as  prominently 
present  as  before. 

Eastman  Super-Sensitive  Panchromatic  Negative, 
Type  2,  represents  a  real  achievement.  You  will 
want  to  become  thoroughly  familiar  with  it.  The 
best  way  to  do  that  is  to  use  it  in  your  next  picture. 
. . .  Eastman  Kodak  Company,  Rochester,  New 
York.  (J.  E.  Brulatour,  Inc.,  Distributors,  New  York, 
Chicago,  Hollywood.) 

^Sensitive  Panchromatic  Negative 

. .  .Type  2 


Twenty-two 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


Tale  of  Three-Element  Cineglow 


Technical  Description  of  Optical   Recording  on 

Positive  Film — Full  Modulation  Is  Claimed 

Without  Distortion 

By  VERNE  T.  BRAMAN 

Chief  Engineer  Blue  Seal  Sound  Devices,  Inc. 


THE  ordinary  two-element  glow 
lamp  (gas  discharge  tube)  con- 
sists of  a  glass,  Pyrex,  or  quartz 
tube  which  contains  rarefied  gases, 
and  into  which  are  sealed  two  elec- 
trodes, an  anode  and  a  cathode.  If 
sufficient  voltage  be  anplied  to  the 
two  electrodes,  the  gas  will  ionize  and 
carry  current,  at  the  same  time  be- 
coming  luminous. 

If  now  the  voltage  be  varied  up  or 
down,  the  current  will  vary,  causing 
a  variation  in  illumination  propor- 
tionate to  the  variation  in  current. 
Thus,  if  the  lamp  voltage  is  modu- 
lated, its  illumination  is  modulated 
proportionately. 

This  lamp  may  be  modulated  at 
sound  frequencies  and  photographed 
through  a  slit  on  to  film  to  make  a 
sound  track,  such  as  is  done  in  a  num- 
ber of  recording  systems. 

Objections  to  the  use  of  the  glow 
lamp  for  sound  recording  have  been 


given  as  lack  of  sufficient  illumination 
for  use  with  positive  stock,  short  du- 
ration of  life,  lack  of  uniformity,  and 
"blasting"  when  modulated  at  high 
volume  levels.  This  last  will  be  gone 
into   more  fully  later. 

Intense  illumination  can  be  secured 
only  by  the  proper  combination  of 
certain  gases  and  vapors,  which  must 
be  extremely  pure  and  at  the  proper 
pressure.  If  all  impurities  and  gases 
are  not  completely  eliminated  from  all 
parts  of  the  tube  and  tube  elements, 
they  are  almost  certain  to  manifest 
themselves  later  and  cause  early  de- 
terioration of  the  lamp.  Likewise  the 
nature  of  the  gas  and  its  pressure,  as 
well  as  the  material  and  purity  of  the 
electrodes  determine  the  amount  of 
sputter  and  the  useful  life  of  the 
lamp.  Only  by  careful  control  of  all 
of  these  factors  can  lamps  be  made 
with  illumination  sufficiently  intense 
to    expose    positive    stock,    and    with 


reasonably  long  life  and  uniformity. 

If  the  voltage  applied  to  the  tube 
terminals  be  decreased,  the  current 
will  gradually  decrease  until  a  voltage 
is  reached  where  the  current  drops 
from  a  certain  value  (say  L)  to  zero. 
Let  us  call  this  the  extinguishing 
voltage.  If,  after  extinguishing,  the 
lamp  voltage  be  increased,  it  will  not 
ignite  until  a  voltage  somewhat  high- 
er than  the  extinguishing  voltage  is 
reached,  which  we  will  call  the  Igni- 
tion voltage.  At  this  point  ionization 
of  the  gas  is  effected  and  the  current 
suddenly  rises  from  zero  to  a  value 
(say  L),  which  is  greater  than  L. 

The   Three-Element   Tube 

Thus,  when  the  voltage  is  modulat- 
ed down  to  the  extinguishing  voltage 
and  back  again,  the  current  will  not 
exactly  follow  the  voltage  modulation, 
but  will  remain  at  zero  until  the  igni- 
tion voltage  is  reached,  a  hysteresis 
loop  being  introduced  into  our  mod- 
ulation curve.  Fig.  1-A  shows  how  this 
can  effect  the  current  waveform  at 
maximum  modulation.  L  is  the  mini- 
mum current  before  extinguishing  and 
la  the  current  at  ignition.  The  cur- 
rent remains  at  zero  over  a  portion 
of  the  cycle,  introducing  a  waveform 
which,  due  to  the  extremely  sharp 
wave  front  or  rise  in  current,  is  very 
productive    of    undesirable    harmonics 


44 


The  only  institution  o£  its  kind  in  the  world" 


HIGHLAND   AVENUE    AT    HOLLYWOOD 

BLVD. 

HOLLYWOOD,   CALIF. 

CHICAGO     OFFICE — 444     WEST     GRAND 

AVENUE 

Foreign    Branches 

London,    England:     10    D'Arblay    St. 

Sydney,    Australia:    No.    4-C    Her    Majesty's 
Arcade. 

Manila,  Philippine  Islands:  No.  227  David  St. 

Mexico  City,  Mexico:    Paseo  de  la   Reforma 

36y2. 

Buenos    Aires,    Argentina:    500    Sarmiento. 

Lima,   Peru:    Edificia   Mineria. 

Honolulu,  T.   H. :    720  South  St. 

Johannesburg,    South    Afiica:    Corner    Jou- 
bert  and   Kerk  St. 

Habana.    Cuba 
H-130,  Vedado 


The  members  of  Photographers'  Local  659  individually  unqualifiedly  indorse 

MAX  FACTOR'S   MAKE-UP 


MAX  FACTOR'S  MAKE-UP  STUDIO 


HOLLYWOOD,  CALIFORNIA 


March,  19:11 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-three 


and   distortion,  causing   harsh,   raspy 
quality. 

Obviously  the  only  way  to  prevent 
this  form  of  distortion  is  to  make  the 
ignition  voltage  equal  to  the  extin- 
guishing voltage.  This  is  done  by  in- 
troducing a  third  element  into  the 
tube  which  allows  an  unmodulated 
ionizing  current  to  flow  at  all  times, 
independent  of  the  modulated  current 
flowing  between  the  two  normal  elec- 
trodes. This  unmodulated  current 
from  the  third  electrode  keeps  the 
gas  ionized  at  all  times,  so  that  for 
the  two  normal  electrodes  the  extin- 
guishing voltage  and  ignition  voltage 
are  equal,  and  the  hysteresis  loop  is 
eliminated.  The  resultant  undistorted 
waveform  is  shown  in  Fig.  1-B. 

The  distortion  shown  in  Fig.  1-A  is 
mild  compared  with  that  of  some 
tubes  the  author  has  measured.  Cer- 
tain impurities  in  the  gas  and  im- 
proper spacing  of  the  electrodes 
cause  L  and  h  to  be  much  more  wide- 
ly separated. 

Besides  the  "lag"  in  ionization  be- 
cause of  the  time  required  for  the 
voltage  to  reach  the  ionizing  voltage, 
there  is  also  a  time  lag  in  the  ioniz- 
ing of  the  gas  even  after  the  ionizing 
voltage  is  reached.  This  effect  tends  to 
accentuate  the  distortion  previously 
described.  By  causing  continuous  ion- 
ization, the  third  element  eliminates 
this  effect  also,  and  certain  otherwise 
desirable  gases  and  vapors  which  are 
sluggish  in  ionization  can  be  utilized 
to  advantage. 

Fig.  2  shows  the  appearance  and 
mechanical  construction  of  a  Cineglow 
three-element   recording  lamp. 

The  construction  of  this  lamp  is 
simple  and  rugged,  and  it  is  made  en- 
tirely by  machinery,  thus  eliminating 
the  human  equation  which  is  not  only 
costly  but  subject  to  non-uniformity. 

The  circuit  for  the  three-element 
recording  lamp  is  extremely  simple. 
The  two  modulated  electrodes  are 
connected  as  in  the  standard  two-ele- 
ment lamp  circuit;  i.  e.,  the  cathode 
is  connected  to  the  negative  voltage 
supply,  and  the  anode  to  the  positive 
voltage  supply  through  a  transformer 
or  inductance  and  a  stabilizing  re- 
sistance, the  modulating  voltage  be- 
inp-  introduced  by  the  transformer  or 
inductance  in  the  usual  manner.  The 
third  electrode  is  connected  directly  to 
the  positive  voltage  supply  through 
a  very  high  resistance,  say  one  or  two 
megohms,  which  allows  an  unmodu- 
lated ionizing  current  on  the  order  of 
0.3  milliamperes  to  flow.  This  simple 
addition  is  enough  to  accomplish  the 
desired  purpose  and  eliminates  all  of 
the  undesirable  effects  previously  de- 
scribed. 

Effect  of  Overload 
Since  the  hysteresis  loop  has  been 
eliminated  and  the  ignition  voltage 
made  equal  to  the  extinguishing  volt- 
age, obviously  any  over-modulation  of 
the  three-element  lamp  will  result  in 
only  a  flattening  of  the  lower  peaks 
of  the  waves,  similar  to  the  over- 
loading of  a  vacuum  tube,  light  valve, 
etc.  It  has  been  found  that  a  certain 
amount  of  distortion  of  this  nature 
is  not  noticeable  in  most  forms  of 
sound  work,  as  practically  all  nat- 
ural sounds  are  already  very  rich  in 


the  harmonics  which  are  introduced, 
and  a  slight  increase  changes  neither 
the  character  nor  the  quality  of  the 
tones.  In  addition  to  this,  most  com- 
plex waveforms  consist  of  high  fre- 
quencies "riding"  on  the  waveforms 
of  lower  frequencies,  so  that  the  peaks 
of  these  higher  frequencies  are  the 
first  to  became  flattened,  and  the 
higher  harmonics  introduced  are  soon 
lost  by  being  above  the  audible  range 
as  well  as  the  transmission  charac- 
teristic of  the  sound  system. 
Reason  for  High  Modulation  Level 
In  sound  systems  our  modulation 
level  is  limited  at  the  lower  end  by 
ground  noise  and  at  the  upper  end  by 
over-modulation.  Since  these  limits 
are  narrower  than  the  volume  range 
of  sounds  in  nature,  we  must  keep  the 
average  modulation  reasonably  high 
so  that  the  weaker  sounds  are  not  lost 
in  the  ground  noise.  To  take  full  ad- 
vantage of  the  available  volume  range 
we  must  record  with  the  peaks  of  vol- 
ume on  the  verge  of  over-modulation. 
With  the  ordinary  two-element  tube 
this  cannot  always  be  done  with  good 
results,  since  full  modulation  results 
in  the  introduction  of  the  previously 
described  harsh  and  raspy  quality,  the 
distortion  introduced  bearing  no  har- 
monic relationship  to  the  original 
sound.  Thus  the  two-element  tube 
must  be  modulated  at  a  lower  level, 
with  corresponding  loss  in  volume 
level  and  range. 

With  the  three-element  tube,  how- 
ever, full  advantage  may  be  taken  of 
the  volume  range  of  the  system  with 
the  knowledge  that  full  modulation 
may  be  utilized,  a  slight  amount  of 
over-modulation  on  the  extreme  peaks 
being  permissible.  The  use  of  a  lamp 
capable  of  exposing  positive  stock  also 
makes  possible  increased  volume 
range  and  a  reduction  of  ground 
noise.  The  net  result  is  high  quality 
sound  recording  with  a  greatly  in- 
creased volume  range  and  volume 
level. 


British  Patented  Equipment 

Guaranteed  Against  Piracy 

Manufacturers  of  British  patented 
sound  equipment,  projectors,  and 
other  cinematic  equipment,  exhibiting 
at  the  British  Empire  trade  exhibi- 
tion to  be  held  in  Buenos  Aires  in 
March,  will  be  beneficially  affected 
by  a  recent  decree  of  the  Argentine 
Provisional  Government. 

The  decree  specifies  that  all  British 
patented  inventions  and  designs  reg- 
istered as  showing  at  this  exhibition 
are  automatically  protected  in  the  re- 
public from  the  date  of  the  decree 
until  three  years  after  the  closing  of 
the  exhibition. 

This  will  prevent  British  patents 
from  being  pirated,  and  the  long 
period  of  protection  is  another  ad- 
vantage. The  formalities  to  be  com- 
plied with  to  obtain  this  protection 
have  been  reduced  to  the  barest  pos- 
sible minimum. 

During  the  three  years  following 
the  close  of  the  exhibition  the  owner 
of  the  patents  may  apply  to  have 
them  registered  in  the  form  pre- 
scribed by  the  existing  law. 


May  Be  Super  Censor 

It  is  possible  a  Home  office  execu- 
tive with  special  powers  may  be  ap- 
pointed in  Great  Britain  to  the  British 
Board  of  Film  Censors  within  the  next 
few  months,  according  to  a  current 
report. 

This  step,  it  is  believed,  has  been 
under  consideration  by  J.  R.  Clynes, 
the  home  secretary,  for  some  time. 
An  announcement  in  the  House  of 
Commons  is  expected. 


Third  Dimension  In  Again 

A  new  optical  invention  for  the  pro- 
jection of  films  giving  an  effect  of 
third  dimension  is  about  to  be 
launched  in  Paris  under  the  name  of 
"Stereogine."  It  is  an  invention  oi 
Edmond  Noaillon. 


FIG    1A   ORDINARY     TWO    ELEMENT     LAMP. 


,W* 


Current  curves  of  two  types  of  glow  lamps 


Three 
Element 
Glow  Lamp 


Twenty-four 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


Australian  Governments 

Plan  Heavier  Theatre  Tax 

THE  business  depression  and 
financial  difficulties  are  making 
it  extremely  difficult  for  the  va- 
rious governments  to  obtain  their  re- 
quired revenues,  and  in  some  cases  at- 
tention has  been  directed  to  entertain- 
ment taxes  as  a  means  of  additional 
state  income,  reports  the  Department 
of  Commerce. 

In  Western  Australia  the  state 
government  proposed  to  double  the 
existing  tax,  but  strong  protests 
have  caused  Parliament  to  consider 
other  proposals  before  making  any 
definite  move. 

The  tax  as  first  proposed  provided  a 


levy  of  2d.  on  tickets  costing  9d.  to 
Is.;  on  tickets  costing  from  Is.-  to 
2s.  6d.,  the  tax  would  be  2d.  for  the 
first  shilling  and  Id.  for  every  6d.  over 
Is.;  all  tickets  over  2s.  6d.  would  have 
a  tax  of  2%d.  plus  %d.  for  each  ad- 
ditional sixpence.  Nothing  definite 
has  been  decided,  however,  but  some 
additional  tax  is  expected  in  a  very 
short  time. 

In  Victoria  a  bill  has  been  proposed 
to  reduce  the  tax  on  admission  to 
legitimate  theatres  by  50  per  cent  on 
tickets  costing  up  to  3s.  6d.,  and  bv 
25  per  cent  on  all  tickets  costing  more 
than  3s.  6d.  This  move  is  being  made 
with  the  idea  that  perhaps  lower 
prices  will  increase  interest  in  stage 
presentations,  thus  providing  employ- 


\ 


The  100% 

Silent 

-INTEGRAL 

INKIE 


This  amazing  new  Incandescent, 
the  Integral  Inkie,  with  lamp  head 
made  entirely  in  one  piece  from 
silicon  aluminum,  overcomes  dif- 
ficulties encountered  in  set  light- 
ing. It  is  100  %  silent  because 
of  its  unique  integral  construc- 
tion which  eliminates  cracking. 

It  projects  more  light  due  to  a 
special  mirror.  Aluminum  con- 
struction makes  it  lighter  in 
weight.  It  may  be  switched  off 
between  shots  without  popping 
hazard. 

Every  element  in  these  lamps 
is  exhaustively  tested  before 
they  are  released  for  use.  The 
Integral  Inkie  is  a  Mole-Richard- 
son product. 

MOLE- RICHARDSON,  INC. 

941  N.  SYCAMORE  AVE.,  HOLLYWOOD 


If     It 


It  Isn't  An   Inkie. 


ment  for  artists   and   stage  employes 
forced  out  of  work  by  the  pictures. 

The  new  tax  would  apply  only  to 
entertainments  in  which  90  per  cent 
of  the  program  is  presented  by  human 
beings  in  the  flesh.  The  Victorian 
government  has  already  put  into 
operation  a  new  entertainments  tax 
which  is  levied  on  all  admissions  of 
lOd.  and  upward.  The  new  law  pro- 
vides for  a  tax  of  Id.  on  admissions 
of  lOd.  to  Is.;  for  every  sixpence  over 
Is.  a  tax  of  Id.  is  collected.  As  three 
shilling  tickets  carry  a  Federal  tax  or 
3d.,  the  total  tax  on  3s.  tickets  is  tid. 


Tilting  Camera  Patented 

A  camera  tripod  for  tilting  or  ro- 
tating, having  a  single  lever  for  con- 
trolling either  or  both  movements  and 
a  flywheel  for  steadying  the  support 
in  this  movement  of  the  camera,  is 
the  description  accompanying  patent 
(U.  S.  1,776,555)  issued  to  F.  E.  Gar- 
butt  et  al.  Assigned  to  Paramount- 
Publix  Corporation. 


Balsley-Phillips  to  Build 

Balsley  and  Phillips,  sound  equip- 
ment manufacturers,  have  moved  to 
753  Seward  street,  where  the  firm  will 
remain  pending  completion  of  its  own 
structure  in  Hollywood. 


Shackelford   in  the  Gobi 

(Continued  from  Page  8) 
turning  to  China  from  Turkestan,  but 
many    messages    sent    out    by    native 
couriers  were  never  heard  from  again. 

On  my  last  trip  I  had  a  short  wave 
radio  receiving  set  which  we  used  to 
pick  up  time  signals  from  Manila  and 
by  which  we  checked  our  chronome- 
ters, and  occasionally  picking  up  a 
message  in  code  sent  us  by  the  Ameri- 
can   Legation    in    Peking. 

The  weather  for  about  three 
months  out  of  the  year  is  ideal,  but 
the  rest  of  the  time  most  anything 
can  be  expected,  as  Granger,  one  of 
our  party,  defined  it,  "Three  months 
spring  and  nine  months  late  in  the 
fall." 

The  Gobi,  situated  as  it  is,  on  a 
high  plateau  country,  is  as  moody  as 
a  tropical  sea.  We  have  gone  to  bed 
on  a  calm,  moonlit  night,  with  the  air 
as  clear  as  crystal  and  not  a  cloud  to 
be  seen,  only  to  be  awakened  an  hour 
later  by  a  mighty  blast  sweeping 
down  from  the  northwest,  black  with 
dust  and  gravel,  leveling  our  tents 
to  the  ground  and  scattering  our 
camp  for   miles. 

Then  again  we  would  have  weeks 
on  end  of  those  lazy  days  with  the 
bluest  of  skies  and  big  white  billowy 
clouds  floating  slowly  overhead — 
panchromatic  (  ? )  yes — and  then 
those  glaring  red  hot  days  when  you 
trot  out  the  deepest  colored  glasses 
and  cast  fearsome  glances  at  the 
thermometer  creeping  up  and  past 
145  in  the  coolest  shade,  holding 
your  ears  waiting  for  the  thing  to 
blow  up,  and  expecting  every  minute 
to  be  the  last. 

And  those  winters!  sixty  below 
and  no  coal.  As  I  say,  if  you  are 
looking  for  weather,  go  to  Gobi,  but 
take  your  fur-lined  sleeping  bag,  for 
there  you  will  sleep  in  it  every  night 
in  the  year. 


March,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-five 


4^n/^ 


ZjtfNN  1j>  l/e^SHNEt^ 


The-,  new  A$si5*fcNr 


Twenty-six 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


1930  Jilm  Exports  "Drop  from  1929 


Decline  in  Footage  Only,  as  Value  Exceeds  Earlier 

Year  by  $496,420  and  Five-Year 

Average  by  $570,900 

By  N.  D.  GOLDEN, 

Assistant  Chief  Motion  Picture  Division  Department  of  Commerce 


PRELIMINARY  figures  covering 
American  motion  picture  exports 
for  1930  show  a  slight  decline 
from  1929.  The  United  States  ex- 
ported to  all  markets  of  the  world 
during  the  1930  period  274,351,341 
linear  feet  of  motion  pictures  with  a 
declared  value  of  $8,118,736  as  com- 
pared with  282,215,480  linear  feet 
valued  at  $7,622,316  for  the  corre- 
sponding period  in  1929. 

This  slight  falling  off  in  our  motion 
picture  exports  should  not  be  viewed 
with  any  great  degree  of  alarm.  Dur- 
ing 1929,  which  was  the  peak  year  in 
motion  picture  exports,  American  ex- 
porters of  motion  pictures  generally 
had  their  sound  positive  films  printed 
in  this  country,  as  foreign  labora- 
tories were  not  as  yet  equipped  for 
sound  printing. 

It  was  not  until  late  in  1928  that 
sound  pictures  really  got  under  way 
in  foreign  countries.  During  that 
year,  which  was  a  normal  one  for  mo- 
tion picture  exports,  214,410,785  feet 
of  American  positive  motion  pictures 
valued  at  $5,253,094  were  shipped  to 
all  foreign  countries,  and  during  1929 
—an  abnormal  year— 273,772,283  feet 
of  positive  films  valued  at  $6,501,714 
were  exported. 

This  increase  of  59,361,498  feet  con- 
sisted mostly  of  sound  positives.  Neg- 
ative film  exports  for  1929  amounted 
to  8,443,197  feet  with  a  value  of  $1,- 
120,602.  During  1930,  which  is  more 
or  less  a  trend  toward  the  normal, 
261,995,983  feet  of  positive  film  valued 
at  $6,787,130  and  12,355,358  feet  of 
negative  film  valued  at  $1,331,606 
were  exported  to  all  countries. 

This  is  an  increase  of  nearly  4,000,- 
000  feet  of  negative  film  for  1930  over 
1929,  which  will  bear  out  the  conten- 
tion that  more  positive  films  are  being 
printed  abroad  from  the  negative  now 
than  during  1929. 

Six-Year  Record 
The  following  table  of  positive  and 
negative  exports  since  1925  should 
serve  to  indicate  that  our  exports  for 
1930  are  far  ahead  of  any  year  except 
1929  both  from  a  footage  and  value 
point  of  view  and  1925  with  regard  to 
value. 

Feet  Value 

1925:    Positive,  225,656,151   $6,787,687 
Negative,       9,929,843     1,893,058 


1926 


Total,  235,585,794  $8,680,745 

Positive,  214,026,620  $6,395,923 

Negative,       6,600,586     1,334,960 


Feet 
1927:    Positive,  222,655,932 
Negative,       9,448,951 


Total,  232,104,883 

1928:    Positive,  214,410,785 

Negative,       7,711,801 


Total,  222,122,586 

1929:    Positive,  273,722,283 

Negative,       8,443,197 


Value 
$5,775,730 
1,455,519 

$7,231,249 

$5,253,094 

1,220,896 

$6,473,990 

$6,501,714 

1,120,602 


Total,  282,215,480  $7,622,316 
1930— 

Negative  Silent,      4,164,711  $  348,087 

Sound,      8,190,647  983,519 


Total,     12,355,358  $1,331,606 

Positive  Silent,      83,749,717   $2,046,843 

Sound,    178,246,266     4,740,287 


Total,  261,995,983  $6,787,130 

(It  will  be  noted  the  valuation  of 
1930's  exports  exceeded  those  of  1929 
by  $496,420  and  the  five-year  average 
of  $7,547,836  by  $570,900.) 

Exports  by  Location 

Since  sound  and  dialogue  pictures 
were  introduced  Europe  has  become 
by  far  our  largest  quantity  market, 
and  as  usual  maintains  its  position  as 
our  least  source  of  revenue.  For  1930 
American  exports  of  motion  pictures 
to  this  region  have  increased  over  12,- 
500,000  feet,  reaching  the  unprece- 
dented total  of  122,670,362  feet.  Both 
Latin  America  and  the  Far  East 
showed  declines  from  1929.  Exports 
to  Latin  America  fell  by  some  6,000,- 
000  feet,  while  in  the  Far  East  totals 
declined  just  over  12,500,000  feet. 
Canada  imported  approximately  the 
same  amount  of  American  motion  pic- 
tures during  1930  as  it  did  during 
1929.  South  Africa  showed  a  decrease 
on  the  other  hand  of  nearly  1,000,000 
feet. 

The  following  table  gives  in  detail 
the  quantity  and  value  of  American 
motion  picture  exports  to  the  various 
regional  divisions  of  the  world: 

American  Film  Exports  by 
Geographical  Location 


1929— 

Countries  Feet 

Europe 110,081,478 

Latin   America..  79,697,600 

Far  East 62,828,477 

Canada 16,446,073 

South  Africa.  .  .  5,343,073 

Other  Countries,  7,818,779 


Value 

$3,341,435 

1,926,551 

1,388,983 

690,595 

130,394 

144,358 


193C— 

Countries  Feet 

Europe 122,670,362 

Latin  America..  73,518,089 

Far   East 50,049,020 

Canada 16,476,472 

South  Africa..  .  4,414,679 

Other  Countries,  7,222,719 


Value 

$4,340,171 

1,730,252 

1,168,193 

627,442 

120,132 

132,546 


Total 274,351,341  $8,118,736 

Of  the  ten  leading  individual  mar- 
kets for  American  motion  pictures 
four  are  to  be  found  in  Europe. 
United  Kingdom  still  remains  our 
leading  individual  consumer  of  Amer- 
ican films  and  our  best  revenue  mar- 
ket, taking  over  42,000,000  feet  of  our 
motion  pictures  during  1930  as 
against  a  little  over  37,000,000  during 
1929.  Second  in  Europe  is  France, 
which  imported  over  22,000,000  feet  in 
1930  as  compared  with  13,000,000  for 
1929. 

France  by  her  tremendous  increase 
has  supplanted  Australia  as  our  sec- 
ond leading  individual  market.  The 
third  market  of  importance  in  Europe 
and  sixth  in  our  world  markets  is  Ger- 
many, which  has  imported  approxi- 
mately the  same  amount  of  American 
films  during  1930  as  it  did  for  the 
year  1929. 

Ninth  among  our  individual  world 
markets  is  Spain,  which  shows  a  slight 
decline  in  its  1930  imports  of  Amer- 
ican motion  pictures  as  compared  with 
those  for  1929.  Other  countries  of 
Europe  held  their  own  during  1930. 
The  following  table  will  indicate  the 
exact  footage  exported  to  the  leading- 
markets  of  Europe  along  with  their 
declared  values: 


EUROPE 


1929— 
Country 
Unit.  Kingdom 

France   

Germany   .... 

Spain   

Denmark   .... 

Sweden    

Other  Europe, 


Feet 

37,644,353 

13,790,744 

15,187,095 

7,925,950 

3,953,145 

3,841,092 

27,739,099 


Value 

L,563,923 

326,040 

462,426 

174,302 

79,725 

85,682 

649,337 


Total 110,081,478  $3,341,435 


1930— 
Country 
Unit.  Kingdom 

France    

Germany    .... 

Spain   

Denmark    .... 

Sweden    

Other  Europe, 


Feet 

42,655,203 

22,688,909 

15,280,197 

7,123,291 

3,713,970 

4,325,088 

26,883,704 


Value 

',223,254 

572,490 

435,393 

153,410 

85,046 

98,305 

772,273 


Total,  220,627,206  $7,730,883 


Total 282,215,480  $7,622,316 


Total 122,670,362  $4,340,171 

*  Rank  among  leading  individual 
markets  throughout  the  world. 

Fourth,  seventh  and  eight  places  in 
our  ten  leading  markets  are  in  Latin 
America.   Argentine  has  dropped  from 


March,  19J1 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty -seven 


third  position  in  1929  to  fourth  for 
1930,  showing  nearly  a  2,000,000  foot 
decline  during  the  year  just  finished. 
Brazil  with  a  decline  of  nearly  7,000,- 
000  feet  of  American  motion  pictures 
is  the  second  market  of  importance  in 
Latin  America  and  seventh  in  our  in- 
dividual world  markets.  Third  in  im- 
portance in  this  region  is  Mexico, 
showing  an  increase  of  nearly  200,000 
feet  of  American  motion  pictures  im- 
ported during  1930  as  compared  with 
1929. 

The  remaining  markets  in  Latin 
America  which  can  best  be  seen  from 
the  following  table  show  slight  in- 
creases and  decreases  for  1930  as 
compared  with  1929.  When  one  con- 
siders the  language  difficulties  in 
sound  and  dialogue  films  in  this  region 
this  slight  decrease  of  6,000,000  feet 
of  American  motion  picture  amounts 
to  little  or  nothing. 

LATIN  AMERICA 

1929— 

Country  *        Feet  Value 

Argentine   ...  3  18,936,292  $  478,466 

Brazil 4  18,108,712  413,073 

Mexico   8     9,231,196  229,962 

Cent.  America  4,018,628  79,573 
Brit.  W.Indies 

&  Bermuda         6,141,363  124,372 

Cuba 5,857,496  145,572 

Chile 4,545,680  107,057 

Other    South 

America   .  .  .        12,858,233  348,476 


Total 79,697,600  $1,926,551 


1930— 

Country  *        Feet 

Argentina   ...  4   16,782,015 

Brazil 7  11,312,545 

Mexico    8     9,417,508 

Cent.  America  8,726,429 
Brit.  W.  Indies 

&  Bermuda  5,167,541 

Cuba 5,172,681 

Chile 5,232,086 

Other    South 

America   .  .  .  11,707,284 


Value 
$449,603 
236,055 
243,911 

148,097 

117,539 
117,555 
139,608 

277,884 


Total 73,518,089   $1,730,252 


*  Rank  among  leading  individual 
markets  throughout  the  wo^ld. 

In  the  Far  East,  Australia  and  In- 
dia maintain  third  and  tenth  positions 
respectively.  Australia,  until  1929 
our  leading  individual  market,  has 
been  on  the  decline  since  the  introduc- 
tion   of    sound    motion    pictures.      In 

1929  it  was  displaced  by  the  United 
Kingdom  and  in  1930  by  France.  A 
decline  of  nearly  10,000,000  feet  is 
noted  in  Australia's  imports  of  Amer- 
ican motion  pictures  during  1930  as 
compared    with    her    imports    during 

1929.  British  India,  our  tenth  leading 
market,  has  replaced  Japan  and  is 
second  in  importance  in  the  Far  East 
by  increasing  its  imports  of  American 
films  by  nearly   1,000,000   feet  during 

1930.  Japan  on  the  other  hand  shows 
a  decline  of  over  2,000,000  feet  during 

1930  as  against  1929.  A  detailed  ac- 
count of  our  footage  and  value  ex- 
ports to  all  of  the  markets  of  the  Far 


East    is    contained    in    the 

following 

table: 

FAR  EAST 

1929— 

Country 

Feet 

Value 

Australia  ....    2 

28,080,746 

$  653,356 

British   India. 

6,170,442 

153,283 

Brit.  Malaya. 

3,837,893 

73,049 

China —  Hong 

Kong  and 

Kwantung.  . 

3,533,096 

69,434 

Netherlands' 

East  Indies. 

3,643,640 

82,955 

7,358,256 

148,431 

Phil.    Islands 

4,163,215 

74,335 

New  Zealand. 

6,041,189 

134,140 

Total 62,828,477  $1,388,983 


1930— 

Country 

Australia    ...    3 

British   India.  10 

Brit.    Malaya. 

China —  Hong 
Kong  and 
Kwantung.  . 

Netherlands' 
East  Indies. 

Japan   

Phil.     Islands 

New  Zealand. 


Feet 
18,847,549 
7,068,674 
3,961,616 


Value 

$493,765 

175,598 

86,993 


2,931,806  66,966 


2,652,316 
5,273,137 
3,513,760 
5,800,162 


48,749 
102,627 

57,267 
136,228 


Total 50,049,020  $1,168,193 


*  Rank  among  leading  individual 
markets  throughout  the  world. 

Canada  as  our  fifth  largest  market 
completes  the  list  of  our  ten  leading 
markets.  During  1930  Canada  shows 
the  slight  increase  of  30,000  feet  of 
American  motion  pictures  over  1929. 
British  South  Africa  shows  a  decrease 
of  nearly  1,000,000  feet  during  1930, 
and  exports  to  other  countries  of  the 
world  have  decreased  nearly  600,000 
feet  during  1930  as  compared  with 
1929. 

The  following  table  indicates  the 
exports  of  American  motion  pictures 
to  this  region  during  1929  and   1930: 

1929— 

Country  Feet          Value 

Brit.  So.  Africa  5,343,073  $130,394 

Canada   5   16,446,073     690,595 

Other  Countries  7,818,779     144,358 

Total 29,607,925  $965,347 

1930— 

Country  Feet  Value 

Brit.  So.  Africa         4,414,679  $120,132 

Canada   16,476,472     627,442 

Other  Countries         7,222,719     132,546 

Total 28,113,870  $880,120 

*  Rank  among  leading  individual 
markets  throughout  the  world. 

During  1930  2,580,308  linear  feet  of 
negative  film  valued  at  $368,197  were 
imported  by  the  United  States  as 
compared  with  2,493,194  feet  valued 
at  $377,633  for  1929.  Positive  film 
imports  by  this  country  amounted  to 
4,893,686  feet  valued  at  $224,683  dur- 
ing 1930  as  compared  with  4,918,236 
feet  of  positive  film  with  a  value  of 
$180,208  during  1929. 


Crouch  Spends  16  Years 

Repairing  Tired  Cameras 

IN  A  hospital  for  sick  motion  pic- 
ture   cameras    on    the    Paramount 
lot  in  Hollywood  works  a  man  who 
has  tended  these  machines  for  sixteen 
years. 

Crippled  and  indisposed  from  ac- 
cident or  wear,  the  huge  cameras 
enter  the  repair  shop.  Crouch, 
knowing  every  nut  and  bolt  in  their 
complicated  makeup,  as  the  physi- 
cian knows  the  human  body,,  tends 
them  skillfully  and  brings  them  back 
to  useful  life. 

"We  work  on  a  general  efficiency 
of  one-quarter  of  a  thousandth," 
Crouch  remarks,  "but  on  very  fine 
work  we  peel  that  down  to  one  ten- 
thousandth  of  an  inch." 


Severe  Test  Given  Product 

By  Mole -Richardson,   Inc. 

In  testing  its  new  product  described 
as  Integral  Inkie,  Mole  Richardson 
says  in  one  instance  it  switched  cur- 
rent on  and  off  a  twenty-four-inch 
sun  spot  25,000  times.  Its  object  in 
doing  this  was  to  attain  a  wear 
equivalent  to  that  of  five  years. 

In  the  new  brand  the  company  says 
the  eighteen  and  twenty-four  inch 
lamps  are  particularly  adapted  to 
back  and  top  lighting  or  where  mod- 
eling is  employed  for  close-ups.  Also 
where  sets  are  deep  or  extremely 
large  they  may  be  used  for  front 
lighting. 

Announcement  is  made  the  new 
lamp  will  be  manufactured  in  all  reg- 
ular sizes. 


Integral  Inkie 


Twenty-eight  The    INTERNATIONAL    PHOTOGRAPHER  March,  19J1 


'Right'- 


from  the  start! 

V><ONSISTENTLY,  through  the  transitory 
stages  of  the  motion  picture  industry,  *£<xcc 
products  have  proved  their  ability  to  meet  the 
exacting  demands  required  of  studio  lighting 
equipment. 

The  builders  of  o^^c^^  with  the  intro- 
duction of  sound  pictures,  were  first  to  offer  to 
the  industry  a  product  that  embraces  every  re- 
quirement of  modern  production.  Built  right 
from  the  start,  ^SzcvJ^fe*  are  not  under- 
going that  stage  of  experimental  reconstruction 
today  required  of  many  products  necessary  to 
the  motion  picture  industry. 


The  demand  for  JZ&c<?  incandescent  lighting 
equipment  and  the  preference  shown  for  it  in 
important  studios  is  proof  of  the  confidence  the 
industry  places  in  t^ocGc^Qt&s. 


cIf  it's  not  a  ^z  it's  not  silent! 


) ) 


LAKIN  CORPORATION 

1707  Naud  Street         Los  Angeles,  California         CApitol  14118 


% 


@ream  oth Stills 


^^I'o* 


Lake  Arrowhead  is  shedding  its  winter  garments  of  snow  and  ice.     Of  the  latter  there  is  a   trace  in   the 
cores,  and  the  snow  drop  by  drop  is  slipping  into  the  lake — eighty  miles  from,  Los  Angeles  rind  a   mile  in 

the  air.     Otto  Benninger  photographed  it. 


.*2*T'o... 


Gream  oth  Stills 


«.*?MAu. 


"0CR^ 


This  tranquil  bit  of 
landscape  was 
photographed  near 
San  Bernardino, 
Bert  Baldridge 
informs  us.     It  is  a 
typical  cross  section 
of  any  Southern 
California  desert 
country 


We  will  take  a 

jump  away 

toward  the  east, 

stopping  in 

Wisconsin  with 

Harry  Blanc  as 

he  records  a 

dazzling  specimen 

of  March  awaiting 

the  coming  of 

April's  showers 


e*«*L'o„. 


Qream  a th Stills 


cfWo*. 


"°6r^v 


Stepping    back 

to  California,  this 

time  with  Frank 

Bjerring,  with 

hvm  we   tramp 

through  the  snow 

to  the  edge  of  the 

Trnckee    River 


But   let's   forget 
this  winter  stuff 
and   join    Hobart 
Brownell  as  he  sets 
up  above   the 
shores   of   the 
placid  old  Pacific — 
that  is, 

sometimes   placid — 
for  a  shot  at 
the  Bay  of 
Monterey 


>>w* 


(5 ream  oth Stills 


iSiKt 


"°crkV» 


Robert  ./.  Bronner  contributes  what  appeals  to  him  as   an   industrial   tragedy,   an   impression   borne  in   on 
him  when  he   noted   the   bungalow   in    the   left  foreground  desperately   fighting   a    losing    battle   against    the 

encroachments    of    the  derricks 


March,  19.il 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-nine 


Qhik  Employs  film  for  Education 


Government  Founds   Cinematographic   Institute 

as  Part  of  University  of  Chile  with 

Home  in  Fine  Arts  School 


IN  the  magazine  Chile  an  interest- 
ing article  written  by  Carlos 
Aguirre  on  "Educating  with 
Movies"  tells  of  the  recognition  of 
the  educational  film  by  the  Govern- 
ment of  Chile  as  an  all  important  and 
far-reaching  factor  in  the  educational 
development  of  the  nation's  schools, 
especially  in  the  rural  districts. 

During  the  brilliant  centennial  cele- 
brations of  1910  Chile's  Palace  of 
Fine  Arts,  erected  at  a  cost  of  over 
two  million  pesos,  was  inaugurated. 
No  one  then  could  have  foreseen  that 
the  southern  wing  of  this  building, 
known  as  the  School  of  Fine  Arts, 
would  two  decades  later  be  housing  an 
Institute  of  Cinematography. 

With  the  distinction  of  being  the 
first  of  its  kind  in  South  America, 
the  Institute  of  Educational  Cine- 
matography, functioning  as  a  division 
of  the  University  of  Chile,  was 
created  late  in  1929  with  an  initial 
apportionment   of   15,000,000   pesos. 

It  occupies  two  floors  of  the  School 
of  Fine  Arts  and  its  equipment  is 
thoroughly  modern  and  complete,  con- 
sisting of  a  studio  for  photographic 
purposes,  projection  room,  laboratory 
for  microphotography,  developing  and 
copying  rooms,  inspection  and  repair 
shops  for  projection  machines  loaned 
to  schools,  and  a  printing  shop  for 
titles  and  other  matter. 

Narrow  Film  Used 

All  the  film  used  is,  of  course,  of 
the  narrow-gauge  or  16  mm.  type  and 
of  non-inflammable  material.  There 
is  also  sound-recording  equipment  for 
the  manufacture  of  sound  pictures, 
those  films  which  are  purchased  from 
abroad  being  synchronized  in  Chile 
for  Spanish  speech. 

The  institute  began  its  work  with 
the  production  of  a  film  on  physical 
education  introducing  the  school 
children  to  the  elements  comprising 
body-care.  Another  film  illustrating 
the  famous  Santa  Lucia  Hill  of  San- 
tiago was  appreciated  by  the  rural 
students  who  had  never  enjoyed  the 
opportunity  of  visiting  their  capital. 
And  from  the  laboratory  of  micro- 
cinematography  came  the  interesting 
study  of  a  drop  of  waste  water  dis- 
closing the  customarily  hidden  mar- 
vels of  the  unseen  microcosmic  world. 

The  scope  of  the  institute's  activ- 
ities is  wide.  The  importance  of  for- 
eign films  in  the  subjects  dealing  with 
geography,  history  and  science  is  rec- 
ognized and  stressed,  but  local  themes 
and  applications  also  receive  treat- 
ment in  the  civics  classes  dealing  with 
the  problems  of  state  and  local  gov- 
ernments, the  geography  of  Chile,  in- 
dustries and  history,  the  film  for  these 


of  course  being  made  in  Chile. 
Bureaus  in  All  Capitals 

To  handle  the  distribution  of  films 
and  equipment  to  the  schools  of  the 
different  provinces  bureaus  have  been 
established  in  all  the  provincial  capi- 
tals, each  bureau  having  one  person  in 
charge  who  is  personally  responsible 
for  this  equipment.  At  these  bureaus 
teachers  also  are  trained  in  the  care, 
use  and  maintenance  of  all  the  equip- 


ment employed  in  this  new  phase  of 
education. 

A  definite  policy  of  censorship  re- 
garding films  for  minors  to  be  shown 
in  educational  establishments  exists, 
the  local  authorities  co-operating  at 
all  times  with  the  representatives  of 
the    institute. 

When  called  upon  by  any  Govern- 
ment department  to  furnish  moving 
pictures  for  educational,  publicity  or 
other  purposes,  the  Institute  supplies 
them  at  regular  fixed  charges.  This 
source  of  revenue  is  devoted  to  im- 
proving the  educational  services  of- 
fered through  the  medium  of  the  mov- 
ing picture  as  an  educational  factor  of 
incalculable  value. 


Chicago  Company  Successfully  Using 
Films  for  Aid  in  Selling  Stocks 

H 


OW  the  talking  motion  picture 
is  being  used  as  a  unique  and 
striking  aid  to  successful  sell- 
ing is  told  in  the  current  issue  of  the 
Financial  Advertisers  Bulletin  by 
Frederick  Doyle,  advertising  director 
of  Smith,  Burris  &  Company,  Chi- 
cago, central  syndicate  managers  of 
Corporate  Trust  Shares. 

It  has  been  this  company's  idea 
that  motion  pictures,  especially  talk- 
ing films,  could  be  of  effective  help  in 
selling  investment  trust  securities,  and 
the  actual  results  of  the  first  exhibi- 
tions of  a  three-reel  talkie  called  "An 
Investment  in  America's  Prosperity" 
have  amply  proved  this,  according  to 
Mr.    Doyle. 

The  theme  of  this  talking  picture, 
as  shown  on  the  screen  and  explained 
by  an  accompanying  voice,  is  the 
closeness  to  the  daily  life  of  America 
of  the  companies  included  in  the 
Smith-Burris  trust  portfolio. 

"The  different  companies  are  seen 
at  work,"  says  Mr.  Doyle,  "providing 
luxuries  as  well  as  necessities — har- 
vesting food  and  bringing  it  to  the 
table;  supplying  light,  power  and 
heat;  providing  rapid  communication 
to  any  point  on  the  globe;  and  per- 
forming a  hundred  other  tasks  es- 
sential to  the  very  existence  of  our 
national  life." 

The  picture  is  shown  by  salesmen 
in  various  cities.  The  film  is  supplied 
in  standard  size  for  regular  theater 
production  and  in  smaller  size  for 
portable  talkie  machines.  Of  the 
portable  talkie  reproducers  over  fifty 
Bell  &  Howell  outfits  are  now  being 
used  to  exhibit  the  picture.  This  out- 
fit weighs  only  88  pounds  and  is  so 
simple  in  construction  that  an  office 
boy  can  operate  it.  "In  whatever 
manner  it  is  shown  the  production 
is  a  thrilling  talking  movie,"  says  Mr. 
Doyle. 

"One  of  the  great  difficulties  that 
the  bond  and  stock  salesman  must 
cope    with,"    says    Cedric    H.    Smith, 


vice-president  of  Smith, Burris  &  Com- 
pany, who  directed  the  production  of 
the  film,  "is  that  of  making  his  pros- 
pective investor  realize  the  extent 
and  nature  of  the  income  producing 
power  behind  the  particular  invest- 
ment offered.  Engraved  certificates 
look  much  alike,  and  comparative 
figures  mean  little  except  to  statis- 
tically minded  people.  But  an  inves- 
tor seeing  and  hearing  a  great  indus- 
trial plant  in  operation  gets  a  vivid 
and  comprehensive  idea  of  the  tangi- 
ble factors  back  of  his  prospective 
investment." 

"An  Investment  in  America's  Pros- 
perity" is  a  Burton  Holmes  produc- 
tion. The  companies  whose  activities 
are  shown  on  the  screen  cooperated 
by  supplying  action  scenes  of  their 
plants,  operations  and  products.  A 
t.otal  of  81,500  feet  from  these  films 
was  reviewed  and  scenes  adopted,  in 
addition  to  many  thousand  feet  of 
new  "shots"  taken  especially  for  this 
new  picture.  From  all  this  material 
the  picture  was  condensed  to  three 
reels,  making  it  interesting  every  sec- 
ond of  every  scene.  The  voice  and 
musical  parts  were  synchronized  with 
the  picture. 

"It  was  not  expected  that  the  film 
would  produce  immediate  sales,"  says 
Mr.  Doyle,  "yet  leading  dealers  make 
such  reports  as  this:  'Every  time  we 
run  the  picture  a  few  more  sales  are 
closed.  This  week  we  have  had  a 
crowded  showing  every  night.  Next 
week  we  are  making,  in  addition,  a 
showing  every  day  at  12:10  and  an- 
other at  3." 


Censors  Earn  Salary 

According  to  statistics  published  by 
the  British  Board  of  Censors  57  new 
feature  films  (3,000  feet  or  over> 
were  censored  in  Great  Britain  during 
December,  1930.  Of  these  57  films  46 
were  sound-synchronized  and  11  were 
silent. 


Thirty 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


Claim  12-Foot  Screen  Nozv  Possible 
for  16mm.  with  New  375-Watt  Lamp 


THE  first  75-volt  375-watt  lamp 
ever  perfected  for  16  mm.  movie 
projection  has  just  been  an- 
nounced by  Bell  &  Howell.  Said  to 
achieve  a  light  intensity  more  than  40 
per  cent  greater  than  was  previously 
available  for  this  type  of  projection, 
it  depends  primarily  for  its  unusual 
results  on  a  tremendous  light  concen- 
tration interestingly  exemplified  by 
the  accompanying  illustration. 

In  the  picture  one  of  these  powerful 
little  lamps  is  placed  alongside  of  six 
60-watt  electric  light  bulbs  such  as 
are  used  in  the  home.  When  it  is  con- 
sidered this  new  type  projector  lamp 
actually  is  smaller  than  one  of  the 
60-watt  bulbs  and  yet  furnishes  more 
illumination  than  all  six  of  the  latter 
combined,  something  of  what  has  been 
accomplished  may  be  appreciated. 

Repeated  scientific  tests,  made  un- 
der widely  varying  conditions,  are 
said  to  justify  the  statement  that 
Filmo  projectors,  when  equipped  with 
this  new  lamp,  can  easily  project 
black  and  white  pictures  12  feet  wide 
with  entirely  satisfactory  distinctness 
and  can  attain  excellent  Kodacolor 
projection  on  a  larger  than  ordinary 
screen. 

The  problem  presented  to  the  illu- 
mination engineers  in  developing  this 
lamp  was  to  concentrate  the  maximum 
permissible  amount  of  light  upon  the 
small  16  mm.  film.  Not  only  was  it 
desirable   to   increase   the   amount   of 


illumination  so  as  to  permit  showing 
a  large  picture  of  sufficient  brightness, 
but  the  light  must  be  concentrated  in 
as  small  a  source  as  possible  to  focus 
pi'operly  with  the  optical  train  of 
lenses  employed  in  projection,  all  of 
which  has  been  successfully  accom- 
plished. 

It  is  stated  that  naturally  the  new 
lamp,  because  of  the  great  concentra- 
tion of  light,  generates  a  fair  amount 
of  heat,  but  a  projector  equipped  with 
an  efficient  fan  cooling  system  satis- 
factorily takes  care  of  this  situation. 

This  new  375  watt  lamp  has  opened 
up  a  tremendous  field  for  the  16  mm. 
film.  The  perfectly  safe  little  16  mm. 
projector  can  now  go  into  the  audito- 
rium and  assembly  hall  and  show  pic- 
tures of  entirely  adequate  size,  clear- 
ness, and  brilliance.  This  great  step 
forward  will  be  especially  welcomed 
in  the  church  and  educational  fields. 
Home  movie  projectionists  also  will 
appreciate  the  possibility  of  securing 
theatrical  brilliance  on  a  larger 
screen.  The  notable  improvement 
made  possible  in  Kodacolor  projection 
is  not  the  least  of  the  triumphs 
scored  by  this  new  lamp. 


Silent  Houses  Fading 

Western  Electric  installations 
throughout  the  world  now  total  7645. 
Of  this  number  4922  are  in  the  Unit- 
ed States  and  2723  in  the  foreign 
field. 


Powerful  little  75  volt  375  watt  16  mm.  projector  lamp  (next  to  ruler), 
recently  perfected,  packs  into  its  small  compass  more  brilliance  than  the  six 
60  ivatt  ordinary  light  bulbs,  shown  near  it,  combined.  This  does  not  take 
into  consideration  any  possible  loss  of  light  due  to  the  60  watt  bulbs  being 
frosted. — Photo  by  Bell  &  Howell. 


Eastman  Builds  Vault  for 

Storage  of   Valuable  Film 

THE  Eastman  Kodak  Company 
has  built  a  vault  for  the  storage 
of  valuable  film  negatives,  in  which 
every  roll  is  insulated  from  every 
other  roll,  so  that  any  one  roll  may 
be  completely  destroyed  without  the 
others  being  harmed  in  any  way.  The 
general  method  of  storing  motion 
picture  positive  film  has  been  that  of 
using  open  racks  in  a  fireproof  vault 
depending  upon  the  installation  of 
automatic  sprinklers  to  prevent  ex- 
tensive film  or  building  fires. 

The  superior  protection  provided  by 
the  new  type  of  vault  has  been  accom- 
plished by  the  use  of  fire-resisting 
wood  cabinets  containing  sheet  metal 
drawers,  each  of  which  fits  into  a  sep- 
arate wooden  partition.  Each  drawer 
is  vented  into  a  single  flue  pipe  which 
leads  out  of  the  building. 

The  cabinets  are  not  fitted  with  in- 
ternal sprinkler  nozzles,  so  that  a  roll 
of  film  once  ignited  can  burn  up  com- 
pletely but  will  not  cause  damage  to 
any  of  the  surrounding  rolls.  A  low 
temperature  (around  50  degrees  F.) 
is  maintained  in  the  storage  vault,  so 
as  to  reduce  to  a  minimum  the  grad- 
ual changes  which  film  is  apt  to  un- 
dergo with  ageing. 


Merge  Field  Forces 

Consolidation  of  all  field  forces  of 
Electrical  Research  Products  is  under 
way,  according  to  a  statement  issued 
by  H.  M.  Wilcox,  vice-president  in 
charge  of  operation.  The  first  step  in 
the  merging  of  departments  was  ef- 
fected February  1  when  the  installa- 
tion and  service  departments  were 
consolidated. 

"The  increasing  variety  of  activ- 
ities which  the  installation  and  serv- 
ice departments  are  being  called  upon 
to  handle  has  made  it  desirable  in  the 
interest  of  greater  flexibility  to  con- 
solidate the  field  forces  and  to  rear- 
range territories  so  that  the  sales, 
credit  and  operating  divisions  will 
synchronize,  thereby  effecting  an  even 
closer   coordination,"   stated    Wilcox. 


To  Produce  Cinecolor 

It  is  reported  that  a  limited  lia- 
bility company  with  a  capital  of 
3,500,000  francs  has  just  been  formed 
in  Paris  for  the  production  of  colored 
film.  The  concern  is  Societe  Conti- 
nental Europenne   Cinecolor. 

The  board  of  directors  is  composed 
of  Louis  Aubert,  Marcel  Monteux, 
Leopold-Maurice  Gratioulet  and  Gus- 
tave  Dyckhoff. 

The  new  company  is  to  exploit  the 
so-called  Thornton  color  process,  the 
patent  of  which  is  held  by  John 
Edward  Thornton,  of  Jersey,  England. 


Scheibe  Losing  I\o  Time 

George  H.  Scheibe  has  produced  a 
new  monotone  filter  designed  espe- 
cially for  use  with  the  new  Eastman 
super-sensitive  panchromatic  type  two 
motion  picture  negative.  This  is  the 
latest  addition  to  a  line  extending 
over  the   past  fifteen   years. 


March,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-one 


Australia  Already  Has  641 

Theatres   Wired   for  Sound 

ONE  of  the  Australian  magazines 
devoted  to  the  show  world  has 
recently  made  a  survey  of  the 
theatres  in  Australia  equipped  for 
sound.  Its  results  indicate  that  there 
are  641  theatres  in  Australia  wired 
for  sound;  of  this  number,  505  have 
sound  on  film  and  disc,  with  the  bal- 
ance having-  disc  only.  Thus,  21  per 
cent  of  the  talker  houses  in  Australia 
are  equipped  for  reproduction  only  oi 
sound  on  disc. 

In  making  its  investigation,  this 
publication  learned  that  343  plants 
had  an  average  cost  of  £4000  each; 
162  averaged  £1250;  and  136  averaged 
£450,  making  a  grand  total  of 
£1,649,650  representing  the  total  cost 
of  the  installation  of  sound  equipment. 
On  top  of  this  cost  it  is  revealed  that 
£81,952  is  spent  in  service  charges 
annually. 

New  South  Wales  is  far  in  the  lead 
as  far  as  talkies  are  concerned,  as  in- 
dicated by  the  following  figures: 

Sound  on  Sound  on 
film  and 
disc 
New    South    Wales      213 
Victoria  (including 

Tasmania)    118 

Queensland  (in- 
cluding small 
portion  of  N  e  w 
South  Wales)  .  . 
South  Australia  .  . 
Western  Aus- 
tralia     


Disc  only 


35 


106 
24 


45 


12 
30 


26 


14 


Total    505  136 

As  an  indication  of  the  rapid  de- 
velopment of  the  talkie,  it  is  esti- 
mated that  95  per  cent  of  the  equip- 
ments have  been  contracted  for  dur- 
ing the  last  twelve  months. 


Tobis-Klang  Film  Moving 

According  to  a  Tobis-Klangfilm 
statement,  1090  theatres  and  projec- 
tion rooms  were  wired  with  Tobis- 
Klangfilm  and  Gaumont  equipment  as 
of  January  1,  1931.  Of  these  752  are 
in  Germany  and  338  abroad.  The 
above    figures    include    37    projection 


At  the  Horsley  studio  Jimmie  Adams  and  Bud  Jamieson  have  just  finished 
"Two  Sons  of  the  Sunny  South."  This  is  a  sound  picture  on  16  mm.  film,  100 
feet  in  length  and  equivalent  to  250  feet  of  standard.  So  far  as  known,  it  is 
the  first  picture  to  be  recorded  simultaneously  and  made  exclusively  for  the 
home  market.  It  is  the  initial  subject  of  a  series  of  fifty-two  shorts  for  the 
same  market  and  is  a  Cine-Art  picture,  supervised  by  Walter  W.  Bell,  and 
was  written  and  dire  cted  by  Jack  Baxley. 


equipments  which  are  installed  in 
halls  not  destined  for  public  perform- 
ances. Of  the  above  sets  806  are 
Klangfilm,  250  Tobis,  28  Gaumont 
machines  and  6  combined  Gaumont- 
Klangfilm   projectors. 


Must  Seem  Shame  to  Take 

The  Money  for  Some  of  ,Em 

"Start  the  chatter"  has  become  as 
familiar  a  cry  in  Hollywood  as 
"Camera,"  or  "Cut." 

In  any  scene  where  crowds  of  peo- 


ple are  assembled,  such  as  cafe,  dance 
halls,  large  social  gatherings,  or 
street  sequences,  reality  demands  that 
there  be  a  background  of  murmured 
conversation  behind  the  dialogue 
spoken  by  the  principal  players. 

This  murmur  of  sound,  or  chatter, 
cannot  be  too  loud,  too  soft,  too  shrill 
or  too  rumbling.  Expert  chatterers 
are  required. 

v  The  Paramount  studios'  casting  of- 
fice has  a  list  of  such  experts  at 
small  talk,  and  is  offering  them  almost 
steady  employment. 


DU  CW*°^E  FILM  SYSTEM 


6^23  SantalvionicaElvd. 


Hollywood,  Calif? 


Red 

Ortho 

Front 

Negat 


lve 


SPECIALISTS  IN  FILM  FOR  COLOR 
AND  PROCESS  PHOTOGRAPHY 

Producers  Make  Their  Own  Color  Selec- 
tion Negatives  with  Their  Own  Cameras 

SOLD  BY  SMITH  &  ALLER,    HOLLYWOOD,    CALIF. 
DU  PONT-PATHE  FILM  MFG.  CO.,  NEW  YORK,  N.  Y. 


Thirty-two 


The    INTERNATIONAL    PHOTOGRAPHER 

CHICAGO 

tlAlArfiK 


March,  1931 


Repology    in    Order 

BOY,  oh  Boy!  Ever  since  the  Feb- 
ruary issue  of  the  International 
Photographer  arrived  in  Chi- 
cago my  phone  has  been  buzzing 
about  the  misspelled  Bal  Tabarin — 
again  it  was  the  Bal  Tabarin  and  not 
Bal  Tavern  where  the  666  banquet 
was  "fought" — (one,  and  all  I  beg  to 
repologize). 

SIX-SIXTY-SIX 

Regular  Meeting 

The  February  meeting  of  Local  666 
was  called  as  a  special  and  was  held 
the  night  before  the  banquet,  so  that 
last  minute  details  could  be  taken  care 
of  and  the  election  of  officers  could 
be  announced.  New  officers  for  1931 
for  Local  666  are  as  follows: 

President — Charles  N.  David. 

First  Vice  President — Oscar  W. 
Ahbe. 

Second  Vice  President — Norman  W. 
Alley. 

Financial  Secretary  —  William 
Strafford. 

Recording  Secretary  —  Ralph  J. 
Saunders. 

Treasurer Marvin   Spoor. 

Sergeant-at-Arms  —  Robert  Taver- 
nier. 

Trustee — Conrad  Luperti. 

Trustee — Ralph  Phillips. 

Trustee — John  Zimmerman. 


By   HARRY   BIRCH 


Vice    President,    Detroit- 
Hargan. 

Vice  President,  Indianapolis- 
Biddy. 

Vice     President, 
Flanagan. 

Vice   President, 
Foss. 

Vice    President, 
Sebastiani. 

Vice    President, 
W.  Reid. 

Vice    President, 
bright. 

Vice    President, 
Yeager. 

Vice      President, 
Mathewson. 

Out-of-town  Vice-Presidents  Ralph 
Biddy,  Bart  Foss  and  T.  A.  Sebasti- 
ani were  at  the  meeting  and  were  in- 
troduced to  all  the  boys.  The  next 
business  was  a  word  of  thanks  from 
the  chair  to  the  various  committees 
for  the  year  1930  for  the  hard  work 
and  reports  rendered  Local  666.  All 
other  business  was  rushed  on  and  the 
stage  was  set  for  the  following  night, 
the  big  show  at  the  Bal  Tabarin. 


-David  T. 
-Ralph 
Cleveland— J.  T. 
Minneapolis — Bart 
Cincinnati — T.  A. 
Kansas  City — W. 
Dallas— Guy  All- 
St.  Louis — Harry 
Atlanta  —  Tracy 


Second  Annual  Banquet 

The  second  annual  banquet  of  Lo- 
cal 666  was  indeed  a  success.  The 
beautiful  Bal  Tabarin  alone  was 
worth  the  price  of  admission,  and  the 
outstanding  feature  of  the  night  was 
when  Mayor  Thompson  of  Chicago 
presented  Brother  Eugene  Cour  with 
a  gold  life  membership  card  to  Local 
666.  Of  course,  there  was  a  good 
feed,  and  there  were  good  music,  good 
dancing,  broken  bottles,  movies  made, 
and  many  other  things,  but  I  think 
the  Sassiety  Reporter  has  given  you 
a  very  good  detailed  story  further  on 
in  this  department,  and  I  will  let  you 
read  what  he  has  to  say. 


MOVIOLA 

Film   viewing    and   sound    reproducing    ma- 
chines for  use  with: 

Separate  picture  film  and  sound  film, 
composite  film  and  sound  on  disc  record. 
For  editing  35  mm.  film,  16  mm.  film  and 
v/ide  film. 

Write   for   Circulars    Describing    the 
Different   Models 


MOVIOLA  COMPANY 

1451    Gordon  Street 
Hollywood,   California 


SIX-SIXTY-SIX 


Beating  the  Blue  Envelope 

Several  days  ago  I  met  Brother 
Cour  sauntering  down  Wabash  Ave- 
nue with  one  of  those  big  smiles.  I 
asked  Cour  "why  so  happy?"  and  his 
reply  was  that  there  was  monkey  bus- 
iness going  on  some  place.  He  claimed 
that  he  received  a  check  that  morning 
for  two  weeks'  pay  in  advance,  and 
realizing  that  this  was  not  coming  to 
him,  he  immediately  became  suspi- 
cious that  Pathe  News  was  doing  too 
well  by  him,  so  he  said,  says  he:  "I 
am  going  to  beat  them  to  it.  I'll 
cash  the  check  and  quit,"  which  he 
did.  So  Brother  Cour  is  no  longer 
with  Pathe  News. 


SIX-SIXTY-SIX 


Visitors 


Brother  Roy  Klaffki  of  Local  659 
dropped  off  in  Chicago  the  day  of  our 
banquet  and  naturally  had  his  "soup 
and  fish"  outfit  with  him  and  was 
very  much  in  view  at  the  speaker's 
table  that  night.  Several  days  later 
Brothers  Howard  E.  Hurd  and  John 
Boyle  came  through  Chicago,  picking 
up  Brother  Klaffki,  and  the  three  de- 
parted on  their  way  to  New  York 
city. 


SIX-SIXTY-SIX 


Multicolor 


Several  weeks  ago  when  Brother 
Alvin  Wyckoff  was  in  Chicago,  he 
made  a  Multicolor  test  for  the  boys 
here  at  the  S  &  A  studio.  It  was  our 
pleasure  to  see  this  picture  screened 
at  the  S  &  A  studio,  and  it  is  only 
fair  that  we  tell  the  cock-eyed  world 
that  this  picture  was  far  past  expec- 
tations. 

This  screening  proved  to  us  that 
Multicolor  is  indeed  a  real  color 
process  and  we  want  to  thank  Brother 
Wyckoff  for  the  trouble  that  he  went 
to  to  make  this  test  and,  further,  to 
make    it    possible   that   we    could    see 


March,  19.31 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-three 


the  finished   print.    "Very  good,   Ed- 
die." 


SIX-SIXTY-SIX 


In  Focus — In  Spots 

By  Birch's  Sassiety  Reporter 

WELL,  it  wuz  a  grand  and  glori- 
ous night,  but  all  it  remains 
now  is  one  swell  headache  for 
yours  trooly.  What  I  means  is  the 
big  ball,  and  it  wuz  just  that  BIG, 
as  all  the  brothers  what  showed  up 
will  agree,  and  if  any  wuz  chump 
enough  to  give  it  the  go  by,  well, 
that's  your  hard  luck. 

Like  usual  it  was  called  for  7 
p.  m.  and  by  8  p.  m.  some  of  the 
brothers  promised  to  lick  the  waiters 
if  they  didn't  bring  on  the  heated 
groceries.  And  then  it  started.  I 
got  plenty  laughs  on  some  of  the 
fadeouts  from  the  affair. 

*  *      * 

Let's  go  back  to  the  start.  Swell 
feed,  wasn't  it?  Regular  he-man 
food.  Why,  I  even  lamped  a  couple 
of  perfect  36  females  sinking  their 
teeth  into  the  fattening  baked  pota- 
toes and  never  a  worry  about  the 
extra  avordupois  it  might  coax  on. 
Bull  Philips  is  the  guy  who  suggested 
the  dinner  pail  feed.  Guess  he  figgers 
since  some  of  us  guys  drag  around 
them  heavy  sound  boxes  squab  won't 

do. 

*  *     * 

Then  did  you  see  Charlie  David 
and  Gene  Cour  up  on  the  no  cover 
charge  table  glad  handing  the  honored 
guests? 

*  *     * 

Jack  Barnett  moved  all  over  the 
joint  mugging  the  guests  with  his 
Akeley  and  then  to  surprise  us  later 
showed  'em — and  they  wuz  all  in 
focus  too. 

Tommy  Malloy,  impressario  of  the 
operators,  showed  up  with  a  fine  rep- 
resentation of  his  boys. 

*  *      * 

Fred  Wagner  was  the  earliest  ar- 
gument that  the  Eighteenth  amend- 
ment  ain't   a   noble   experiment. 

Conrad  Luperti  showed  up  with  the 
frau. 

Billie  Strafford  figgered  he'd  bring 
up  his  own  fun  so  he  got  Rudy  Nebb's 
papa,  Wallie  Carlson,  to  sit  at  his 
table. 

*  *     * 

Charlie  Geis  buried  the  hatchet 
with  his  sound  man,  Harry  Neems, 
and  they  sat  at  the  same  table. 

Fred  Giese  and  the  Pathe  gang 
didn't  rent  the  usual  dress  suits  this 
year;    maybe   business   depression. 

*  *     * 

There  was  a  guy  in  the  lobby 
what  made  old  fashioned  tintypes, 
and  when  a  certain  brother  asked 
him  how  business  wuz  he  replied: 
"The  cheapest  bunch  I  run  across.  I 
ain't  made  one  picture  tonight." 

"Keerect,"  says  the  brother,  "them's 
photographers,  but  since  your  honest 
about  it  I'll  get  some  customers."  And 
then   it   started,   everybody    trying   to 

outdo    the   other   on    posing   goofy. 

*  *     * 

And  talking  about  them  tintypes — 


was  your  party  one  of  the  gang  that 
got  in  on  the  ones  Big  Bill  Thomp- 
son, the  Mayor,  posed  with? 

All  in  all  everybody  claims  they 
had  a  big  time,  and  that  was  exactly 

what  it  was  run  for. 

*      *      * 

Things  I  never  knew  until  the  ball 
was  run. 

That  Charlie  David  owns  his  own 
soup    and    fish. 

That  it  ain't  Mr.  and  Mrs.  Martin 
Barnett  yet,  but  give  Martin  a 
chance. 

That  Bob  Duggan  is  quite  a  fancier 
of  flowers,  going  to  extremes  to  gath- 
er baskets  of  'em  in  hotel  lobbies. 

That  Harry  Birch  loves  the  morn- 
ing air  in  the  loop  and  always  takes 
brisk  walks  after  a  ball. 

That  Billie  Andlauer  arrived  in 
Chicago  the  day  of  the  Ball,  lived  at 
the  Sherman  hotel,  never  saw  one  of 
the  brothers  and  thought  the  ball  had 
been  run  off  the  night  before  he  blew 
into  town. 

That  maybe  Billie  Andlauer  ought 
to  drop  in  at  headquarters  when  he 
hits  the  burg  and  maybe  get  set  in 
his  fi&tps 

That  Mr.  and  Mrs.  Ralph  Biddy 
brought  Ralph's  new  mamma-in-law 
along  to  chaperon  the  newlyweds. 

That  Verne  Blakeley  didn't  show 
up  because  he  had  a  date  to  dance 
with  Verne  Wellington,  Jr.,  at  the 
home  fires. 

That  Red  Felbinger  has  never  seen 
the  ice  parade  at  either  one  of  our 
two  balls. 

That  it  wuz  a  shame  Brothers 
Barth  Foss  and  Sabatina  could  not 
remain   over   for   the   ball. 

That  Brother  Norm  Alley  did  not 
furnish  the  entertainment. 

Eddie  Morrison  did  a  solo  as  Glea- 
son,  his  sound  man,  was  down  with 
the  flu,  but  Eddie  had  the  Mrs.  along. 

Speaking  of  Eddie  Morrison,  I  got 


witnesses  that  overheard  him  asking 
Mrs.  Morrison  in  one  of  the  Sherman 
corridors,  confidentially  and  sweetly, 
the  following:  "Do  you  still  love 
me?" 

This  column  never  figgered  Eddie 
wuz  one  of  them  Don  Juans — so  the 
above  ought  to  be  news. 


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Is    pleased    to    announce    the    photographing    of 
the   first  feature  picture 

ENTIRELY  BY  PROCESS 
"Subway  Express" 

A  Columbia   Production 

"You   Shoot  Today — Screen  Tomorrow" 
932  No.  La  Brea  Aye__      __GL  3959  Hollywood,  Calif. 


Thirty-four 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


LIFE  IS  A  ROSE 

To  DAD — In  Memoriam,  January  25,  1931 
By  Virgil  Miller 
Life  is  but   a  rosebush,   full  of  roses; 
Every  life  a  rose,  from  bud  to  bloom: 
Every  year  ;i   petal   that   uncloses 
To  fall  away  and  give  the  others  room. 

I  like   to   think   of   DAD   as  such   a   flower. 
Budding-,    blooming,    growing   through   the   years; 
Strong  and  sturdy  under  sun   and  shower, 
Sun   for  joys,   and  raindrops  for  his   tears. 

A  budding  rose,   his   face  was  toward   the    sky; 
Deep-rooted  were  his  feet  in   fertile   spot;     . 
Growing  secure,  lest  withering  petals  lie 
In  disarray,   unfragranced,   and  forgot. 

Coolly  he  fought  the  summers'   scorching   heat — 
Protecting  outer  petals  curled  and  clung 
Nor  fell  till  wasting-  blasts  had   called   "Retreat" — 
Then,   rusty-sweet,    th_jy   whirled  away   still   young. 

Unflinchingly  he  stood   in   whistling  wind, 

To  give  and  take;  in  unison   t"  sway 

With  every  moody  gust  that   'round    him   dinned, 

Until  his  sweetness  calmed  it  into  play. 

Gloriously  he   welcomed    falling    rain; 
LTnfolding    petals,    thirst    unquenched    with    dew, 
Revealed  the  loveliness  of   color  plain — 
Unfading    beauty,    steadfast,   ever  true. 

Firmly  he  met  the   icy   North-wind's   cold, 

Deeply   he   breathed — each    breath   was   warm    and    sweet; 

The    weather-beaten   petals,    growing    old. 

Kept    warm    the    heart,    unselfish   in   its   beat. 

Gladly    he    stood    beside    the    lonely    road; 
Laden  with  thoughts  of  others  his  fragrance  sped 
Into  the  byways,   that   someone  with  a  lead 
Might  stop  and   smile  ere  going  on  ahead. 

Unafraid   he  bloomed  near  dingy  street, 

His  simple   beauty  seemly  out  of  place 

Till   one   looked  up,    the   rose's  glance   to   meet, 

And  lost  the  pain   that  flicked  across  his  face. 

Budding   and    blossoming — the   passers-hy 
Saw   beauty  there,   or   if  their   eyes   were   dim. 
Breathed  deeply  of  his  presence;  heads  held  high. 
They   passed   along — better   because   of   him. 

Many  the  petals  falling  at  his  feet; 
Many  the   seasons  crowning  aged  head; 
Slowly   the  rose  became   more   incomplete — 
One   petal   more — then   some   would    call    it    dead. 

But  roses  don't  die  when   the  last  petal    tails; 
The  petal-less  shell   is  the   promise   of   God, 
A   resurrection   to   come,    and    when   HE    calls. 
Behold   the   same   rose    in    heavenly   sod. 

The  last  petal  fell,  and  its  sweet-laden  dew 
Was  the  incense  of  memory  he  left  us  to  share; 
The   angels   transplanted   the   rose   that    we   knew. 
To   continue   its   blooming  in  God's  loving   care. 


Paris  New  Gaumont  House 

Will  Have  12  Projectors 

THE  largest  and  the  smallest 
motion  picture  theatres  in 
France — according  to  available 
records — are  being  equipped  with 
Western  Electric.  The  largest  is 
the  New  Gaumont  Palace.  To  re- 
construct this  theatre  required  20,000 
cubic  yards  of  stone,  1,000  tons  of 
steel  and  200,000  sacks  of  cement. 
The  booth  will  be  30  yards  long,  3 
yards  high  and  will  contain  12  pro- 
jectors and  sound  reproducers.  The 
length  of  the  projection  beam  will  be 
230  feet.  Western  Electric  equip- 
ment will  be  installed  in  time  for  the 
theatre's  opening  in  March. 

The  smallest  theatre  is  the  Studio 
Diamant  with  only  196  seats.  A  3-SF 
Western  Electric  equipment  was  in- 
stalled, but  owing  to  the  smallness  of 
the  house  the  installation  involved 
unusual  difficulties.  The  work  was 
done  by  two  engineers,  all  that  the 
projection  room  could  hold  at  the 
time. 

Part  of  the  roof  was  torn  off  and 
reconstructed  because,  in  its  original 
condition,  it  interfered  with  the  pro- 
jection beam.  The  booth  was  then 
enlarged  and  a  new  projection  hole 
made  for  No.  1  beam.  The  equip- 
ment itself  had  to  be  taken  apart  and 
passed  up  the  stairs  leading  to  the 
booth  in  small  pieces,  being  set  to- 
gether again  inside  the  room. 

The  Studio  Diamant  operates  as  an 
international  picture  house,  where 
talkers  in  Italian,  German,  English, 
Spanish,  French  and  even  Esperanto 
are  shown. 


Carroll  Dunning  Returning 

Carroll  H.  Dunning  of  Dunning 
Process,  who  with  Mrs.  Dunning  and 
their  daughter  Decla  has  been  in 
Germany  during  recent  weeks,  sailed 
for  home  February  25.  He  is  ex- 
pected to  arrive  here  about  March 
10.  Mrs.  Dunning  and  daughter  will 
remain  abroad  for  some  time. 

Mr.  Dunning  while  in  Berlin  dis- 
cussed plans  for  making  there  Ger- 
man talking  pictures  from  American 
subjects. 


J  J  |   |jlf  > '  i  ffflj  |||  j 


Philip  Tannura  in  Paris  takes  a  stroll  on  a  rainy  night.'    On  the  left  is  the  Place  de  la  Concorde,  looking  south, 
the  right  is  the  Champs  Elysees,  looking  from  the  Place  de  la  Concorde 


At 


March,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-five 


Whispers  Now  Really  sire  Just  That 


Under  Noiseless  Recording  It  Is  Not  Necessary 

To  Raise  Voice  to  Conversational  Tone 

In  Order  to  Make  It  Audible 

By  H.  B.  SANTEE 

Director  of  Commercial  Engineering 
Electrical  Research  Products,  Inc. 


UNDOUBTEDLY  the  most  im- 
portant single  technical  develop- 
ment since  the  introduction  of 
talking  pictures  in  1926  is  the  West- 
ern Electric  noiseless  recording.  First 
presented  to  the  industry  and  the 
public  at  large  in  the  Paramount  pic- 
ture "The  Right  to  Love,"  starring 
Ruth  Chatterton,  it  was  immediately 
recognized  as  a  great  forward  step 
toward  perfect  recording. 

Most  of  the  producers  licensed  to 
record  by  the  Western  Electric  sys- 
tem quickly  adopted  it.  Paramount 
at  once  completed  arrangements  to 
use  noiseless  recording  at  both  its 
East  and  West  Coast  studios  and 
United  Artists  adopted  the  new  sys- 
tem in  recording  Douglas  Fairbanks' 
"Reaching  for  the  Moon,"  and  Mary 
Pickford's  "Kiki."  All  future  pro- 
ductions of  these  and  other  companies 
will  undoubtedly  be  recorded  with 
this  new  system. 

Noiseless  recording  represents  a 
victory  in  the  battle  between  adequate 
volume  range  versus  background 
noise.  Low  volume  sounds  which 
heretofore  have  been  masked  by  back- 
ground noise,  or  which  to  be  heard  at 
all  had  to  be  raised  to  a  dispropor- 
tionate value,  can  now  be  heard  more 
nearly  in  their  proper  relationship  to 
the  louder  sounds. 

As  a  result  the  sound  of  meagre 
audibility,  such  as  whispers,  sighs, 
creaks,  stealthy  footsteps  and  the 
like,  can  be  brought  out  clearly.  No 
longer  do  whispers  have  to  be  raised 


to  conversational  pitch  in  order  to  be 
audible. 

Full  Value  to  Low  Sounds 

Heretofore  photographic  impres- 
sions attempting  to  create  "atmos- 
phere" must  many  times  have  suffered 
through  this  artificially  loud  level  of 
sounds  which  should  be  soft  in  order 
to  be  natural. 

Dramatic  passages  obtained  photo- 
graphically are  so  often  enhanced  by 
some  sound  like  the  ticking  of  a  clock 
or  the  creaking  of  a  floor  or  the 
crackling  of  a  fire  that  it  should  be 
a  great  boon  to  the  art  to  know  that 
these  effects  may  now  be  obtained  in 
their  true  values. 

Perhaps  the  most  immediately  no- 
ticeable effect  of  noiseless  recording 
is  the  lack  of  hissing  and  crackling 
sounds  heretofore  an  inevitable  part 
of  the  film  sound  track  during  sup- 
posedly silent  portions.  Now  the  quiet 
moments  really  will  be  quiet  and  not 
evidence  themselves  by  a  mechanical 
hiss  which  may  spoil  some  dramatic 
scene  where  silence  is  the  essence. 
Quiet  Even  More  Essential 

It  is  obvious  that  the  feeling  of 
realism  and  conviction  is  materially 
enhanced  by  the  use  of  noiseless  re- 
cording, and  the  cameraman  need  no 
longer  feel  that  when  his  photo- 
graphic touches  introduce  a  subtle 
atmospheric  effect  they  will  be  des- 
troyed either  by  background  noises 
or  some  faint  sound  recorded  at  a 
level  unbelievably  loud. 


The  only  precautions  that  noiseless 
recording  imposes  in  the  studio  are 
those,  in  a  more  intense  degree,  that 
have  been  obligatory  ever  since  talk- 
ing pictures  made  their  bow.  If  noise- 
less recording  has  made  it  possible  to 
catch  minute  sounds  intended  for  re- 
cording, the  same  also  applies  to 
noises  not  intended  to  be  put  on  the 
sound  track.  Shuffling  feet,  sputter- 
ing lights,  inadvertent  coughs,  whis- 
pers and  camera  noises  will  have  to 
be  guarded  against  more  carefully 
than  ever. 

These  are  minor  details.  The  im- 
portant factor,  it  would  seem,  lies  in 
the  joy  of  the  craftsman  in  the  ability 
to  help  toward  attaining  perfection. 
That  is  what  noiseless  recording  is 
intended  for.  The  cameraman  takes 
his  part.  It  enables  him  to  give  fuller 
expression  to  his  art  and  to  embody 
all  the  intricacies  of  fine  photography 
of  which  he  alone  is  the  master. 

Fine  photography  together  with 
natural  recording  and  reproducing 
are  the  prime  factors  in  bringing  to 
the  average  theatregoer  the  illusion 
of  realness.  The  spectator  of  a  pic- 
ture made  by  means  of  noiseless  re- 
cording hears  little  that  will  remind 
him  he  is  listening  to  reproduced 
sound. 

That  is  the  latest,  and  truly  a  great 
development  toward  perfection  in 
talking  pictures. 


Panic  Kills  29 

During  the  presentation  of  the  Eis- 
enstein  film,  "The  General  Line,"  fire 
broke  out  in  the  Illitch  School,  Khar- 
kov, Russia,  causing  a  panic.  Twen- 
ty-nine children  died  and  89  were  in- 
jured. 


U fa  Making  Disks,  Too 

Lignose-Horfilm  (German)  has  con- 
cluded an  agreement  with  Ufa,  ac- 
cording to  which  it  will  make  disk 
scores  of  all  Ufa  sound  product  re- 
corded by  the  sound-on-film  method. 


Here  Mr.  Tannura  shows  us  on  the  left  the  Place  de  la  Concorde,  looking  north,  with  the  Admiralty  and  the  Cercle 
dc  la  Rue  Royale  buildings  in  the  background.     On  the  right  is  the  fountain  in  the  centre  of  the  Place  de  la  Concorde 


Thirty-six 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


Looking  In  on  Just  a  Fezv  Nezv  Ones 


the  savage  ceremonials  accompanied 
by  sinister  cries  and  ominous  drums 
seemed  sweet  to  the  ear. 


(Continued  from  Page  11) 


there  is  one  person  at  least  who 
failed  to  hear  about  it.  Nevertheless 
Metro  went  to  it,  with  the  possible 
result  it  will  duplicate  its  success  of 
the  earlier  story-  It  may  duplicate  it 
because  where  the  older  tale  devel- 
oped drama,  the  newer  one  has  thrills 
and  novelty. 

As  an  exposition  of  physical  equa- 
torial Africa  and  of  its  beasts  of  field 
and  stream  it  is  probable  "Trader 
Horn"  will  top  the  list  of  everything 
in  its  class.  In  addition  to  this  there 
is  the  story  of  a  part  of  the  life  of 
the  rugged  old  trader  around  whose 
stormy  career  the  book  was  written. 
And  no  one  who  has  had  a  squint  at 
the  seared  and  scarred  hide  of  old 
man  Horn  when  his  shirt  was  off  will 
have  any  doubt  the  career  had  been 
stormy. 

Just  one  scar  and  the  story  of  its 
antecedents  will  serve.  An  area 
larger  than  the  two  hands  of  a  man 
across  one  of  the  old  adventurer's 
shoulders  bore  the  livid  imprint  of  a 
lion's  paw. 

"Why,  the  way  I  got  that,"  ex- 
plained the  old  man,  who  had  just 
declared  he  had  no  exact  idea  how 
many  scars  he  did  carry,  "I  was 
slammed  down  by  a  lion  and  in  the 
second  or  part  of  it  his  paw  was  hold- 
ing me  down  and  before  he  could 
make  another  move,  my  partner 
drilled  him  with  a  bullet.  The  beast 
keeled  over  on  me — and  I  was  rather 
glad  he  was  quite  dead.  My  partner 
had  made  a  good  shot." 

Through  the  expedient  of  the  old 
trader  explaining  to  Little  Peru  the 
names  and  characteristics  of  the 
many  animals  seen  at  close  quarters 
the  audience  is  let  in  on  a  sort  of 
zoological  festival — and  an  interest- 
ing occasion.  It  is  just  one  herd  after 
another. 

Not  all  of  the  thrills  are  of  the 
jungle.      A    dugout    containing    four 


persons  is  being  paddled  across  a 
stream  spotted  with  the  rolling  and 
plunging  bodies  of  the  great  beasts 
of  the  water.  One  of  these,  weighing 
thousands  of  pounds,  comes  up  along- 
side the  boat  and  moves  away,  creat- 
ing no  particular  attention  on  the 
part  of  the  occupants,  but  it's  a  fear- 
some sight  as  the  cameraman  puts 
it  on  the  screen. 

Incidentally,  there  must  have  been 
perils  aplenty  for  the  camera  crew. 
The  action  indicates  that.  The  work 
of  these  men,  De  Vinna  and  his  asso- 
ciates, Robert  Roberts,  George  Nogle 
and  Earle  Frank,  contribptes  might- 
ily to  the  success  of  the  production. 

Wherein  the  picture  touches  the  na- 
tives it  easily  takes  on  the  rank  of  a 
spectacle.  The  barbaric  ceremonials, 
staged  in  splendor  and  on  a  magnifi- 
cent scale,  will  cause  many  to  revise 
their  previous  ideas  regarding  the  na- 
tive of  Darkest  Africa. 

Harry  Carey  is  an  ideal  interpreter 
of  old  man  Horn.  The  statement 
will  bear  emphasis.  More  than  that, 
it  is  a  humanly  sympathetic  por- 
trayal. Second  in  interest  to  the  chief 
player,  surely  with  a  great  many,  will 
be  the  work  and  the  personality  of 
Mutia  Omoolu,  the  African  giant  who 
portrays  Renchero,  the  servant  of 
Horn. 

Duncan  Renaldo,  as  Little  Peru, 
and  Edwina  Booth,  as  Nina  T.,  are 
the  other  principals,  the  latter  late 
in  entering  the  story.  W.  S.  Van 
Dyke  directs.  Richard  Schayer  wrote 
the  screen  play  and  Cyril  Hume  the 
dialogue  from  the  book  by  Ethelreda 
Lewis. 

It  is  to  be  hoped  those  who  witness 
the  picture  in  places  other  than  Holly- 
wood will  be  spared  the  handicap  suf- 
fered by  the  production  locally  by 
reason  of  the  barbarously  deafening 
prologue  staged  for  it.  After  a  long 
half  hour  of  orchestral  pandemonium, 


THE  LADY  REFUSES  (RKO) 

Leo   Tover,   Cameraman 

A  GREAT  story  and  a  deeply  mov- 
ing one  is  "The  Lady  Refuses," 
which  Robert  Milton  and  Guy 
Bolton  wrote  for  RKO  production. 
And  a  great  and  at  times  a  deeply 
moving  performance  is  given  by  two, 
possibly  three,  persons.  Of  these 
Betty  Compson  and  Gilbert  Emery 
will  appeal  to  the  maturer  picture- 
goer,  while  John  Darrow  will  monop- 
olize the  attention  of  the  younger 
element  of  any  house  as  well  as  com- 
mand an  abundance  of  it  from  the 
older. 

Betty  Compson  has  the  part  of  June 
Loring,  penniless  and  discouraged  and 
who  if  not  of  the  street  at  least  is  well 
on  her  way  across  the  sidewalk  when 
the  sound  of  approaching  police  boots 
frightens  her  into  ringing  the  first 
doorbell.  The  role  well  might  have 
been  made  to  order  for  the  woman 
whose  artistry  in  the  sympathetic  por- 
trayal of  the  unconventional  woman 
was  established  in  that  compelling 
tale  of  "The  Miracle  Man." 

It  is  Sir  Gerald  Courtney  who  an- 
swers the  imperious  clanging  of  the 
bell.  The  head  of  the  house  has  an 
elaborately  prepared  dinner  for  two 
ready  to  serve,  but  only  one  to  sit  in 
on  it,  the  son  of  the  house  having 
broken  an  engagement  at  home  in 
order  to  join  the  gold  digging 
Berthine.  It  is  Emery  who  so  splen- 
didly portrays  the  Englishman,  a  gen- 
tleman in  the  truest  sense,  an  indul- 
gent father  and  altogether  a  delight- 
ful conception  of  a  most  likable  chap. 

If  Sir  Gerald  does  not  stir  the 
hearts  of  the  women  picturegoers 
even  as  June  is  responsible  for  a  like 
emotion  on  the  part  of  her  masculine 
audience,  then  indeed  is  one  scribe  a 
poor  prophet. 

Darrow  is  the  Courtney  son  who 
has  been  indulged  in  his  pastime  of 
sowing  oats  of  a  riotous  character  up 


ROY  DAVIDGE  FILM 
LABORATORIES 

An  Exclusive  '  'Daily ' '  ha  boratory 

Quality  and  Service 

6701-6715       SANTA     MONICA       BOULEVARD 

GRanite    3108 


March,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-seven 


to  the  point  when  even  a  complacent 
father  becomes  concerned  enough  to 
engage  June  to  do  what  she  can  to 
break  the  fast  culminating  misalli- 
ance with  the  effusive  Berthine. 

While  the  onlooker  inwardly  may 
sense  the  inevitable  denouement  re- 
sulting from  the  contact  of  an  im- 
pressionable youngster  with  a  charm- 
ing woman  experienced  certainly  in 
the  ways  of  the  upper  world  and  pos- 
sibly of  the  under  nevertheless  there 
are  times  when  his  faith  is  shaken  in 
his  own  powers  of  foretelling  events 
and  he  plainly  is  doubtful  how  it  all 
will  end.  And  he  so  remains  until  Sir 
Gerald  speaks  the  final  line  of  the 
story. 

Margaret  Livingston  is  Berthine 
and  Ivan  Lebedeff  is  the  Russian  who 
aims  to  make  his  living  off  of  her  ad- 
ventures— the  New  Yorkers  have  a 
name  for  it — and  who  makes  the  mis- 
take of  killing  his  meal  ticket  when 
she  displays  genuine  not  simulated 
fondness  for  young  Courtney.  The 
blood  tragedy  is  shown  off  stage, 
which  is  well;  sufficiently  poignant  in- 
deed are  the  three  distinct  soul  trage- 
dies holding  a  silent  house  under  their 
spell. 

Edgar  Norton  seems  to  be  perfect 
in  his  interpretation  of  what  the  mul- 
titude is  bound  to  construe  as  the  real 
thing  in  English  butlers;  nor  is  the 
part  overdrawn.  And  Daphne  Pollard 
as  Milly  the  chambermaid  who  sees 
much  and  says  little,  and  most  effec- 
tively that  little,  completes  an  un- 
usual cast. 

Throughout  its  course  "The  Lady 
Refuses"  is  a  sophisticated  story — 
barring  the  few  moments  when  June 
in  order  to  clear  the  situation  by  in- 
curring the  i-epulsion  of  both  father 
and  son  indulges  in  the  slang  of  the 
near  underworld. 

Bertram  Millhauser  is  the  associate 
producer,  and  to  his  credit  is  to  be 
recorded  a  finely  made  picture.  George 
Archainbaud  is  the  director  who  mark- 
edly contributes  to  this  aforesaid  end; 
and  Max  Ree,  responsible  for  scenery 
and  costumes,  deserves  especial  com- 
mendation for  his  interiors  of  the 
Courtney  home.  His  library  lingers 
in  the  memory. 

No  father  or  son  can  afford  to  miss 
this   absorbing   picture.      Neither   can 


any  woman  interested  in  any  father 
or  son — or  both.  Aside  from  an  oc- 
casional involuntary  chuckle  they  are 
going  to  remain  very,  very  quiet  for 
an  unusual  hour. 


LITTLE  CAESAR 

Tony  G audio,  Cameraman 

A  STRANGE  story  is  "Little 
Caesar,"  which  Warner  Broth- 
ers produces  from  the  novel  of 
the  same  name  by  W.  R.  Burnett.  It 
is  a  tale  of  gangs,  presumably  of 
Chicago,  although  the  town  is  not 
named.  Presumably  also  the  aim  of 
the  gangs  is  to  convey  alcohol  in  some 
form  or  other  from  one  owner  to  an- 
other, although  that  not  unessential 
fact  is  not  nominated  in  the  bond,  at 
least  so  far  as  recalled. 

If  the  story  be  a  strange  one  also 
it  is  a  convincing  one  so  far  as  con- 
cerns anyway  the  layman  who  is  not 
privileged  to  speak  with  authority  on 
all  subjects,  particularly  those  refer- 
ring to  gangs  and  their  ways  of  ac- 
complishing things. 

The  picture  is  melodrama  and  is  de- 
signed to  be  just  that.  It  is  a  tale  of 
"tough  guys,"  of  the  male  persuasion. 
One  lone  female  there  is  in  the  story, 
but  the  man  who  writes  the  lines  fails 
to  give  her  an  opportunity  of  making 
her  presence  felt.  And  therein  lies 
the  chief  "out"  of  the  production — 
the  absence  of  deep  heart  interest. 

Of  physical  thrills  there  are  a  num- 
ber, but  emotionally  there  is  neither 
rise  nor  fall  in  the  penciled  line. 

Edward  G.  Robinson  is  given  the 
part  of  little  Caesar,  the  small  town 
denizen  who  moves  his  activities  to 
the  lake  metropolis.  With  the  excep- 
tion of  a  tendency  to  speak  too  rapid- 
ly to  allow  the  sound  reproducing 
equipment  an  even  chance,  Robinson 
gives    a    remarkable    characterization. 

To  Douglas  Fairbanks,  Jr.,  and 
Glenda  Farrell  is  intrusted  the  ro- 
mance. Both  did  their  creditable  best 
to   inject   that    element   into   the   tale. 

The  police  side  of  the  drama  is  most 
capably  represented  by  Thomas  Jack- 
son, the  deliberately  spoken  "dick"  of 
"B'roadway."  His  interpretation  here 
is  along  similar  lines — and  his  spoken 
lines  always  are  of  particular  interest. 

This  is  a  good  place  to  say  the  dia- 


logue  is   worthy  of  mention.      It   has 
an  abundance  of  snap. 

There  is  an  excellent  supporting 
cast.  Among  those  who  had  the  most 
to  do  were  George  E.  Stone,  William 
Collier  Jr.,  Sidney  Blackmer,  Ralph 
Ince,  Stanley  Fields  and  Maurice 
Black.     Mervyn  Leroy  directed. 


RANGO 


Al  Williams,  Cameraman 

IT'S  a  simple  tale  of  the  jungle,  this 
"Rango,"  which  Ernest  Schoed- 
sack  produces  and  directs  for 
Paramount.  The  actual  locale  is  Su- 
matra. The  picture  was  photographed 
as  a  silent  one,  its  very  competent 
synchronization  having  been  done  in 
Hollywood  so  recently  as  to  have  been 
given  the  benefit  of  noiseless  record- 
ing. But  if  it  be  a  simple  tale  of  the 
jungle  how  altogether  fascinating  it  is 
and  how  absorbing,  even  gripping,  at 
times! 

The  story  turns  largely  on  the  ordi- 
nary life  of  a  hunter,  Ali,  and  his 
son,  Bin,  the  only  humans  seen  in  the 
story  following  the  prologue.  Ali  is 
more  than  a  hunter;  he  is  a  tiger 
hunter. 

Then  there  are  an  old  ape,  Tua,  and 
his  young  son,  Rango.  These  latter 
two  furnish  much  of  the  comedy  and 
also  some  of  the  drama — and  tragedy. 

Ali  shows  how  to  build  traps  for 
the  tiger,  among  these  the  deadfall, 
designed  when  tripped  by  one  of  the 
big  cats  to  unloose  a  spiked  beam 
which  crushes  its  victim.  Then  there 
is  a  pit,  a  hole  in  the  ground  covered 
first  with  bamboo  and  then  with 
leaves.  It  so  happened  this  particular 
pit  was  opened  by  a  regiment  of 
monkeys  fleeing  from  the  vicinity  of 
a  tiger,  troops  of  them  going  into  the 
pit,  to  return  a  second  later  when  they 
discovered  their  mistake. 

Through  the  picture  there  are  shots 
of  monkeys  and  then  more  monkeys, 
but  never  do  these  become  monoto- 
nous. Far  from  it.  The  little  fellows 
are  the  eyes  and  the  ears  of  the  for- 
est. At  least  one  pair  of  guardian 
eyes,  popping  wide  open  with  excite- 
ment at  times,  and  backed  by  an 
earnest  face  always  is  on  the  watch 
and  on  slightest  provocation  slips  to 
the  feeding  troops  below  the  word  to 
hop  to  it  and  high  up.    And  then  how 


King  Charney  says . . . 

WHETHER  IT  BE  CARBON  OR  INCANDESCENT  LIGHTING 
WHETHER  IT  BE  TALKIES  OR  SILENT 


Insist 
Upon 


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Negative 


For  definite  results 

AGFA  RAW  FILM  CORPORATION 


Thirty-eight 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


the  little  fellows  do  stream  up  some 
hanging-  vine  to  their  shelter  two 
score  feet  above  the  ground.  It's  a 
real  parade. 

There  is  a  black  panther,  dreaded 
by  all  and  surely  of  fierce  appearance, 
which  meets  sudden  death  at  the  hand 
of  Ali.  One  of  the  first  sequences  in 
the  picture  is  the  shooting  of  a  tiger 
by  Ali,  who  as  he  puts  in  position  the 
percussion  cap  on  his  archaic  shoot- 
ing iron  plainly  takes  the  situation 
seriously  even  if  he  betrays  no  fear. 

One  of  the  lighter  sequences  is  that 
showing  how  Tua  and  Rango  obtain 
admittance  to  Ali's  cabin  and  wreck 
the  place  in  their  hunt  for  food  — 
which  they  find  and  eat,  plenty.  It 
is  Tua  Ali  suspects,  and  so  he  sets  a 
trap.  It  is  Rango  who  is  caught,  and 
it  is  the  son  of  Ali  who  takes  Rango 
to  the  cabin  a  prisoner.  How  these 
two  youngsters  share  the  evening 
meal  and  curl  up  together  under  one 
blanket  for  the  night  is  a  story  in 
itself. 

There  are  scenes  in  "Rango"  that 
will  linger  Ion"-  in  the  memory.  One 
of  these  is  where  a  young  regiment  of 
monkeys  fleeing  from  a  tiger  crowd 
into  a  tumbling  mountain  stream, 
some  of  them  keeping  their  footing 
on  the  rocks  and  others  being  pushed 
into  the  torrent. 

The  battle  between  the  domestic, 
placid,  even  affectionate  water  buffalo 
and  a  marauding  tiger,  seemingly 
sought  by  the  buffalo  with  its  four- 
foot  spread  of  horn,  was  a  surprise 
to  many  in  its  outcome.  No  matter 
how  that  cat  approached  its  antagon- 
ist he  seemed  to  land  on  the  end  of  a 
horn.  The  ponderous  buffalo  moved, 
too,  with  the  agilitv  of  the  tiger,  who 
did  not  long  remain  a  competitor  in 
the  encounter. 

"Rango"  is  a  family  picture.  For 
very  young  and  very  impressionable 
little  ones  the  matinee  is  the  time  for 
them  to  see  it — for  with  these  it  will 
be  especially  vivid.  But  don't  let 
them  miss  seeing  Rango  the  son  of 
Tua  or  Bin  the  son  of  the  mighcy 
hunter  Ali. 

In  spite  of  the  equatorial  and  other 
handicapping  conditions  the  photog- 
raphy is  excellent. 


STORM  OVER  ASIA 

AN  UNUSUAL  amount  of  inter- 
est was  manifested  in  Holly- 
wood over  the  appearance  at 
the  Filmarte  of  Director  Vsevolod 
Podovkin's  "Storm  Over  Asia,"  pro- 
duced in  Russia  by  Mejrabpomfilm  of 
Moscow.  At  the  first  show  on  the 
opening  night  so  many  of  the  audi- 
ence decided  to  remain  over  for  the 
second  performance  that  a  large  num- 
ber of  patrons  were  unable  to  gain 
admission. 

The  subject  was  silent,  with  Eng- 
lish titles  written  by  Shelley  Hamil- 
ton. In  the  course  of  its  showing 
there  was  abundant  proof  that  dia- 
logue is  not  an  absolute  essential  in 
order  to  guarantee  strength  in  vol- 
ume. For  strength  it  has,  in  story, 
in  characterization  and  in  direction. 

The  theme  was  political,  as  one 
would  expect  of   an   Amkino   release. 


It  was  dramatic,  nevertheless,  at  times 
powerfully  so.  The  plot  turned  on  the 
efforts  of  the  White  Russians,  or  anti- 
Soviets,  to  establish  an  alliance  with 
the  Mongols  and  of  the  failure  of  the 
plans  due  to  the  treachery  of  the 
White  Russians. 

The  director  showed  a  marked 
preference  for  long  shots,  especially 
where  he  aimed  to  portray  desolation, 
which  he  frequently  most  successfully 
did.  Also  his  use  of  throngs  was  most 
generous,  all  of  these  being  notable 
for  the  close-ups  of  representative 
faces. 

The  finish  of  the  picture,  the  se- 
quence which  gave  birth  to  the  title, 
showed  the  destruction  of  the  White 
Russians  by  the  Mongols  in  a  terrific 
hurricane. 

Truly  it  was  a  smashing  close  to 
a  picture  that  held  the  spectator's 
closest  interest  throughout — whether 
that  spectator  was  a  partisan  or 
even  an  antagonist  of  the  present  rule 
in   Russia. 


How  Well  the  Juicer  Knew 

A  SCENE  was  in  rehearsal  on  a 
set  at  the  Paramount  studios 
for  Ruth  Chatterton's  "Un- 
faithful," in  which  the  star  was 
endeavoring  to  make  a  point  in  a 
dice  game.  She  was  supposed  to 
fail. 

"What  point  shall  I  say  it  is?" 
she  asked  Director  John  Cromwell. 
"What's  a  hard  one  to  make?" 

From  the  runway  far  above 
came  the  voice  of  a  "juicer,"  an 
electrician : 

"They're   all   hard,   lady." 


STOLEN  HEAVEN 

George  Folsey,   Cameraman 

IF  IT  be  true  that  all  the  world 
loves  a  lover  then  must  it  be 
doubly  true  that  all  the  world 
loves  two  lovers — which  is  another 
way  of  saying  that  Nancy  Carroll 
and  Phillips  Holmes  are  in  for  a 
lot  of  attention  when  Paramount's 
"Stolen  Heaven"  is  released. 

The  picture  is  one  of  the  prettiest 
and  incidentally  at  times  one  of  the 
most  moving  love  stories  of  the  year. 
It  is  more  than  that.  It  is  a  logical 
tale  of  wrongdoing  and  expiation. 

The  story  is  not  of  the  Sunday 
school  order — hardly.  It  is,  though, 
a  tale  of  life,  of  life  in  New  York  or 
in  any  other  big  town.  A  wounded 
and  dazed  man  collides  in  the  street 
with  a  woman  and  by  the  latter  is 
taken  to  her  room,  where  she  learns 
she  has  on  her  hands  a  hold-up  man 
— learns  that  not  unimportant  detail 
just  prior  to  the  search  of  the  house 
by  the  police — and  that  on  him  he 
has  the  goods  to  the  extent  of  twenty 
thousand.    Her  quick   wit  saves  him. 

So  two  desperate  youngsters  de- 
cide to  pool  issues,  to  go  away  on  a 
riotous  honeymoon,  to  spend  the 
money,  and  then  jointly  to  take  the 
big  step  that  previously  they  had 
been  ready  to  take  individually. 

Under  the  spell  of  the  new  life  the 
woman  is  transformed  from  a  listless 


to  an  enthusiastic  being.  She  is  in 
love — not  merely  or  casually  or  just 
so-so  but  madly  and  boundingly,  al- 
most insanely  so.  The  man  maintains 
his  reserve,  but  his  chief  thought 
now  is  to  save  the  woman  from  par- 
ticipating in  the  pact. 

Alternating  with  the  gayer  and 
lighter  moments  are  scenes  of  near 
hysteria  on  the  part  of  the  woman  as 
she  plans  and  schemes  to  prevent  the 
carrying  out  by  the  man  of  his  what 
we'll  call  prenuptial  promise  to  free 
her  of  his  presence. 

George  Abbott,  who  adapted  and 
staged  this  subject  from  a  story  by 
Dana  Burnett,  easily  may  rest  the 
popular  verdict  on  his  picture  on  these 
particular  sequences,  although  as  a 
fact  there  are  no  dull  moments  the 
entire  course  of  the  running. 

If  the  opening  scenes  ar-e  drab 
likewise  are  they  exciting.  There  is 
suspense  aplenty  in  this  dramatic 
introduction  in  the  girl's  room  of  two 
desperate  persons.  And  the  same  pull 
adheres  throughout  the  unwinding  of 
the  story,  even  right  to  the  finish 
when  fate  and  reason  have  joined  to 
let  the  law  take  its  course. 

There  is  not  much  to  be  said  about 
the  cast — for  the  excellent  and  suffi- 
cient reason  that  Director  Abbott,  in 
the  main,  has  chosen  to  confine  his 
story  to  two  persons.  Louis  Calhern 
has  the  part  of  the  heavy  who  also 
proves  to  be  a  benevolent  one  in  the 
end.  Edward  Keane  is  the  detective 
who  speaks  for  the  law. 

"Stolen  Heaven"  will  establish  its 
two  principals  among  the  leaders  in 
their  particular  field.  Possibly  noth- 
ing Nancy  Carroll  has  done  hereto- 
fore will  equal  her  present  work  in 
demonstrating  her  quality  as  an  emo- 
tional actress — and  the  expression  is 
employed  with  due  regard  for  the  im- 
portance of  its  rather  large  implica- 
tion. 

In  the  case  of  young  Holmes  his 
portrayal  here  will  supplement  and 
confirm  that  in  "The  Criminal  Code," 
to  mention  a  recent  example. 

Primarily  Abbott  has  made  a  pic- 
ture for  young  persons.  It  is  sug- 
gested, however,  the  appeal  of  the 
subject  will  be  increased  in  direct 
proportion  to  the  added  years  and  ex- 
perience  of  the   person   viewing  it. 


Australia  Has  New  One 

Another  reproducing  system  re- 
cently has  been  placed  on  the  Aus- 
tralian market  by  Reproducer  Sys- 
tems, Ltd.,  Sydney.  The  new  gear, 
known  as  Reprovox,  is  of  Australian 
manufacture  and  at  recent  demon- 
strations has  apparently  given  satis- 
factory results.  The  company  makes 
no  claims  its  plant  is  equal  to  the 
high-priced  makes,  but  guarantees  it 
to  give  a  highly  satisfactory  perform- 
ance. 

The  new  equipment  is  priced  as 
follows:  Sound  on  disc  from  £325; 
sound  on  film  from  £575;  disc  and 
film  from  £675.  The  equipment  car- 
ries a  twelve  months'  guarantee,  and 
while  no  service  fee  is  intended  the 
company's  engineers  will  make  regu- 
lar  inspections. 


March,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-niyie 


Trueball 
Tripod  Heads 


MODEL   B 

Their  use  for  follow  shots 
assures  smooth  operation, 
having  an  equal  tension  on 
all  movements.  Also,  their 
action  is  unaffected  by 
temperature. 

Fred  Hoefner 

Cinema   Machine   Shop 

5319   Santa   Monica    Blvd. 
GLadstone  0243  Los  Angeles 


MELROSE 

Trunk  Factory 

UNION  MADE  Camera 

Cases  for 
UNION  CAMERAMEN 

UNION   MADE   Camera   Num- 
ber Boards 

Trunk  and  Luggage  Repairing 
Our  Specialty 

Automobile  Trunks,  Sample  and 
Make-Up  Cases  to   Order 


GLadstone  1872     646  N.  Western 
LOS  ANGELES,  CALIF. 


v^iisfi . . . 


For  professional  Bell  & 
Howell  and  DeBrie  cameras. 
Send  full  description  for  cash 
offer.  Or  telegraph  Bass 
Camera  Company,  179  West 
Madison  street,  Chicago, 
Illinois. 


With  Compliments 

Earl    (Curly)    Metz 

Assistant  Cameraman 


James  E.  Woodbury 

Portrait   and    Commercial 
Photographer 

GRanite  3333     5356  Melrose  Ave. 
Los  Angeles,  Calif. 


Turn  your  scrap  film  and  short 
ends  into  cash 

HORSLEY  CHEMICAL 
COMPANY 

1123  Lillian  Way      GLadstone  5490 
Hollywood 


Dr.  G.  Floyd  Jackman 

DENTIST 

Member   Local    No.    659 

706    Hollywood    First    National    Bldg. 
Hollywood  Blvd.   at   Highland  Ave. 

GLadstone    7507  Hours:    9    to 

And    by    Appointment 


Cameras 
Lenses 

GUARANTEED 


PETERSONS  CAMERA  EXCHANGE 

356  So.  Bdwy  Los  Angeles 

Send  For  Bargain  List  / 


Cinex  Testing  Machines 
Cinex  Polishing  Machines 


Developing   Machines 

Printing  Machines  rebuilt  for 

Sound  Printing 

Special  Motion  Picture  Machine 

Work 

Barsam  -  Tollar 
Mechanical  Works 

7239  Santa  Monica  Blvd. 

Hollywood,  California 

Phone  GRanite  9707 


The    new    "Local    659"    emblem. 
Small,  chic  and   attractive.     Or- 
der from  your  Secretary  or  direct 
from  manufacturers. 

J.  A.  Meyers  &  Co. 

822  South  Flower  Street 
The    largest   jewelry    factory 

in  the  West 
Diamonds — Watches — Jewelry 


Phone  GLadstone  4151 

HOLLYWOOD 
STATE  BANK 

The  only  bank  in  the  Industrial 

District  of  Hollywood  under 

State   supervision 

Santa    Monica    Boulevard   at 
Highland  Avenue 


FvjSctnvs-  BiffasHTVfos  jnd  many  vita  vffrcts. 

cAste  your3  dealer,  ov  lypite  to 

GEORGE  H.SCHEIBE 

PHOTO-FILTER  SPECIALIST 


Forty 


The    INTERNATIONAL    PHOTOGRAPHER 


March,  1931 


VERNON  L.  WALKER 

Specializing  in 

PROCESS 
Miniature,  Trick  and  Unusual  Shots 


Address  601  West  Fairmont,  Glendale,  Calif. 
DO.  5032-R  HE.   1128 


CLASSIFIED 


W.  A.  SICKNER 

FIRST   CAMERAMAN 

COMPLETE 

AKELEY 
EQUIPMENT 

CRestview  7255     GLadstone  5083 
HEmpstead  1128 


Kenneth  Peach 

Special  Effects 


FRED  JACKMAN 
W.  B F.  N. 


Alvin  Wyckoff 

Multicolor 


Aerial  Photography 

WM.  H.  TUERS 


GR.  9097 


HE.  1128 


J.    N.    Giridlian 
SECOND   CAMERAMAN 

STerling    1295  TErrace   9152 


FOR   SALE— Cameras— Mitchell,   Bell   &   How- 
ell,   Akeley ;    lenses    and    accessories    of    all 
kinds ;    new    and    used.      HOLLYWOOD    CAM- 
ERA  EXCHANGE,    1511    Cahuenga   Boulevard. 

WANTED,  second  hand  Leica  Camera  En- 
larger  ;  must  be  in  good  condition.  Jackson 
Rose,    care    International    Photographers. 

MITCHELL  high-speed  Camera  No.  225.  Van 
Rossem,   6049  Hollywood   Blvd.     HO   0725. 

WANTED  at  reasonable  price.  Mitchell  fric- 
tion head  tripod,  two  F-2  Cook  Lenses,  Motor 

for    Bell    &    Howell.    J.    C.     Sulzer,    Box    498, 

Atlanta,    Ga. 

MISCELLANEOUS 

WANTED— FROM    GLOBE-TROTTING    CAM- 
ERAMEN     FILM     OF     FOREIGN     COUN- 
TRIES.      ADDRESS      REX      GORDON,      1215 
JUNE  ST.,  HOLLYWOOD.    PHONE  GR  6933. 

FOR  SALE — Bargains  in  cameras,  lenses,  new 
and  used.  Voigtlander  9x12  cm  with  F  4.5 
lens,  $30.  Sept,  complete,  $25.  Rolleidoscope 
$135  size  6x13.  Leica  with  F  1.5  lens,  com- 
plete $95.  Stineman  16mm  printer,  $45.  Oth- 
ers ;  also  rentals,  repairs,  exchanges  at  Peter- 
sons   Camera   Exchange,    356    S.    Bdwy.,    L.    A. 


FOR  RENT 

Mitchell  with  Speed  Movement 
complete.  Five  matched  and  cali- 
brated lenses. 

4,  3,  2,  40  and  35  Pan  Tachar 
2  1000  ft.  and  4  400-ft.  magazines 
1  Gear  box  and  shaft 
1   Baby  tripod  and  high  hat 

Glenn  R.  Kershner 

Culver  City  3154 


ELMER  G.  DYER 

HE8116-HE1128 


Walter  J.  Van  Rossem 

PHOTOGRAPHIC  LABORA- 
TORY. 
MITCHELL    CAMERA    No.    225, 

COMPLETE,  FOR  SALE 

HOlly  0725      6049  Hollywood  Blvd. 

Hollywood,  California 


Art  Reeves 
Cliff  Thomas 


Phone 
HOIIywood    9431 


IX0HANQE 


The  Clearing  House 
for  Cameramen 

Mitchell  and  Bell  &  Howells    FOR  RENT 

Cameras   and   Projectors   and 
Accessories   bought   and   sold 

Commercial  Photography 


1511    N.    Cahuenga    Blvd. 

HOLLYWOOD,   CALIFORNIA 


Kodak  Supplies 


Still  Finishing 


16  mm.,  35  mm.  Developed  and  Printed 


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I    WISH  "THIS 


J  CAMERA  HAD  A  FREE  HEAP 
AND  A  CONTROL    HANDLE-. 
ON  IT  —  iTTAKES   TOO 
LONG  TO  GET  IT    CRANKED 

AROUND    —    GEE!    WHEN  DID 
YOU  GET  ONE  OF  THOSE.   NEW 
MITCHELL  CANERA  CORPORATION 

TRICTlON    HEAD  CONTROL  HANDLES! 
TELESCOPIC     TOO  — 
MUST  6E  A  DANDY 


PRETTY    CLEVER  -  IS'NT   IT? 
ALL  YOU    GOT  TO  DO   15  TO 
LOOSEN    THE-    CAM    LEVEB, 
AMD  DOWN  IT  GOES  -STRAIGHT 
DOWN  OUT  OF   THE.  WAY  -  WHY- 
BILL'  BEAUDINE.  -SAID  IT  WAS 
THE  F/RST  TINE.  HE  EVER   GOT 

up  close  To  The.  view  finder 

AMD   CAMERA   WITHOUT  GETTING. 
THE    HANDLE    ALL  TANGLED  UP  IN   S 
HIS    VEST   OR    NECKTIE  AND  BESIDES 
WHEN  IT'o  DOWN  OUT  OF  THE  WAV   Jj 
I    CAN    UNLOAD  AND   LOAD    THE-,  j 
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The 

Color  Balance  and  Latitude 

of 


*EG.  U.S.  PAT. OFF 


Special  Panchromatic 
Negative 

(High  Speed) 

Remains  The  Same  As  In 
The  Regular  Emulsion 


dffiijT) 

Been  Placed  On  An  Interior  Product" 


SMITH  &  ALLER,  Ltd. 

6656  Santa  Monica  Boulevard  HOllywood  5147 

Hollywood,  California 

Pacific  Coast  Distributors 

For 

DU  PONT  PATHE  FILM  MFG.  CORP. 

35  West  45th  Street  New  York  City 


April,  1931  r*e    INTERNATIONAL    PHOTOGRAPHER  One 


The  Bell  &  Howell 

Standard  Camera 

interchangeable  for 

COfOR  |*  SPfED 

SOUND         / 


In  one  major  mechanism,  with  quickly  interchangeable  parts,  the  Bell 
&  Howell  Standard  Camera  combines  a  regular,  color,  and  ultra-speed, 
or  regular,  color,  and  sound  camera  into  one. 

The  ultra-speed  silenced  intermittent  mechanism  is  instantly  inter- 
changeable with  the  famous  original  pilot  pin  shuttle  mechanism, 
which  is  easily  adaptable  to  the  handling  of  the  "two  negatives"  or 
"Bi-pack"  color  process. 

AND  NOW  the  shuttle  intermittent  mechanism,  standard  for 
nearly  twenty  years,  can  be  silenced  and  therefore  used  for  color  and 
special-process  sound  pictures  where  PERFECT  REGISTRATION 
is  essential. 

Characteristic  Bell  &  Howell  precision  marks  the  perfect  function- 
ing and  maximum  interchangeability  of  every  part  of  the  camera,  a 
hallmark  of  all  Bell  &  Howell  Cinemachinery  for  nearly  a  quarter 
of  a  century. 

BELL      &      HOWELL 

BELL  &  HOWELL  COMPANY,  1849  Larchmont  Avenue,  Chicago,  Illinois 
New  York,  1 1  West  42nd  Street  •  Hollywood,  6324  Santa  Monica  Boulevard 
London  (B  &  H  Co.,  Ltd.)  320  Regent  Street  Established  1907 


Two 


The    INTERNATIONAL    PHOTOGRAPHER 


April,   19.il 


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INTERNATIONAL 
PHOTO  GPAPHE  R 


Official  Bulletin  of  the  International 
Photographers  of  the  Motion  Pic- 
ture Industries,  Local  No.  659,  of 
the  International  Alliance  of  The- 
atrical Stage  Employees  and  Mov- 
ing Picture  Machine  Operators  of 
the  United  States  and  Canada. 


Affiliated  with 

Los  Angeles  Amusement  Federa- 
tion, California  State  Theatrical 
Federation,  California  State  Fed- 
eration of  Labor,  American  Fed- 
eration of  Labor,  and  Federated 
Voters  of  the  Los  Angeles  Amuse- 
ment Organizations. 


Vol.  3 


HOLLYWOOD,  CALIFORNIA,  APRIL,  1931 


No.  3 


m 


xAP 


"Capital  is  the  fruit  of  labor,  and  could  not  exist  if  labor  had  not  first  existed. 
Labor,  therefore,  deserves  much  the  higher  consideration." — Abraham  Lincoln. 


CONTENTS 


Front   Cover  —  West    Portal    in    the 
Rockies,  9000  Feet  Up 

James  Munatt,  Photo 
Frontispiece  —  The   Gathering   Four- 
o'Clock  Storm   2 

Lewis  W.  Physioc,  Photo 
Color  Sensitivity  Little  Changed.  ...     4 

By  D.  R.   White 
Super-Sensitive  Cut  Film  Is  Here...     6 
"Under  Paris  Roofs"  Good  Picture.  . .     8 
Shooting  Whales  with  the  Camera.  .     9 

By  Man  lice  Kains 
1930  Equipment  Exports  Gain 13 

By  N.  D.  Golden 

To  Penrod:     A  Tribute 14 

Dirt  and  Scratches 16 

By  Ira  Hoke 

Chicago  Doings 18 

By  Norman   W.  Alley 


Up  to  the  Mountains  and  Down  to 
the  Sea  with  Kling 

Looking  In  on  Just  a  Fejw  New  Ones 
By  George  Blaisdell 

Amateur  Department  

Home  Equipment  for  Radio  Stores.  .  . 

Advise  Tourists  as  to  Camera  Care.  . 

Use  of  Talking  Pictures  in  Business 
Expanding  

Bell  and  Howell  to  Build  in  West.  . 

Tells  Countrymen  a  Thing  or  Two.  . 

Simplex  Builds  Triple  Lens  Turret.. 

Curtiss-Wright  to  Give  Course  in 
Air  Photography   

Film  Daily's  Year  Book 

Herrmann's  California  Weather 
Makes    No   Hit 

Funeral  of  Fogel  Largely  Attended. 


20 
22 

25 
25 
26 

27 
28 
29 
30 

32 
34 

35 
37 


The  International  Photographer  is  published 
andM.P.  M.O.  of  the  U 
Entered  as  second  class  matter  Sept.  SO,  1930, 

the  act  of  M 
Copyright  1930  by  Local  659,  I.  A.  T.  S.  E.  and 

Howard  E.  Hurd, 
George  Blaisdell    -------     Editor 

Ira  Hoke  Associate  Editor 

John  Corydon  Hill 

Subscription  Rates — United  States  and  Can 

Office  of  publication,  1605  North  Cahuenga  Av 


monthly  in  Hollywood  by  Local  659,  I.A.T.S.E. 
nited  States  and  Canada 

at  the  Post  Office  at  Los  Angeles,  Calif.,  under 
arch  3,  1879 
M.  P.  M.  O.  of  the  United  States  and  Canada 

Publisher's  Agent 

Lewis  W.  Physioc    1 

Fred  Westerberg      S 

-     -     -     Art  Editor 
ada,  $3.00  per  year.    Single  copies,  25  cents 
enue,  Hollywood,  California.    HEmpstead   1128 


Technical   Editors 


The  members  of  this  Local,  together  wLh  those  of  our  sister  Locals,  No.  644  in  New  York,  No. 
666  in  Chicago,  and  No.  665  in  Toronto,  represent  the  entire  personnel  of  photographers  now 
engaged  in  professional  production  of  motion  pictures  in  the  United  States  and  Canada.  Thus 
The  International  Photographer  becomes  the  voice  of  the  Entire  Craft,  covering  a  field  that 
reaches  from  coast  to  coast  across  North  America. 
Printed  in  the  U.  S.  A.     i.=^§§^>2     at  Hollywood,  California. 


Four 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  1931 


Color  Sensitivity  Little  Changed 


Essentially  the  Same,  Says  DuPont  Technician 

in  Discussing-  His  Company's  Special  and 

Regular  Panchromatic  Negative 

By  D.  R.  WHITE 


THE  data  here  presented  give  di- 
rect comparisons  between  the 
characteristics  of  DuPont  spe- 
cial panchromatic  negative  and  Du- 
Pont regular  panchromatic  negative. 

From  a  purely  scientific  angle  a 
complete  analysis  of  such  spectro- 
grams as  are  shown  in  Fig.  1  would 
give  a  very  complete  knowledge  and 
comparison  of  the  emulsion  character- 
istics. The  knowledge  would  be  so 
detailed  as  to  be  only  of  laboratory 
interest  and  would  not  be  of  value  to 
film  users  in  such  form. 

However,  these  spectrograms  are  re- 
produced here  to  show  that  the  color 
sensitivity  of  the  two  films  is  essen- 
tially the  same.  No  regions  of  the 
spectrum  included  in  the  older  pro- 
duct are  omitted  in  the  new  and  no 
large  changes  in  relative  sensitivity 
to  different  colors  have  been  intro- 
duced. 

The  scale  of  reproduction  of  the 
spectrograms  is  too  small  to  allow 
much  reliable  comparison  of  general 
film  speeds  therefrom.  With  this  in 
view,  H  and  D  curves  are  presented 
in  Fig.  2.  The  curves  were  plotted 
from  exposures  made  in  a  non-inter- 
mittent time  scale  sensitometer,  using 
a  tungsten  lamp  as  light  source.  The 
exposures  for  the  curves  marked 
"white"  were  made  with  the  light 
from  the  tungsten  lamp  falling  di- 
rectly on  the  film. 

For  the  curves  marked  "red"  a 
Wratten  "A"  filter  was  placed  in  front 
of  the  light  which  was  kept  burning 
at  the  same  position  and  brightness 
as  for  the  "white"  exposures.  In  a 
similar  manner  the  exposures  for  the 
"green"  and  "blue"  curves  were  made 
by  the  use  of  "B"  and  "C"  filters  re- 
spectively. 

The  sensitometric  strips  were  de- 
veloped together  for  eight  minutes  in 
borax  developer,  with  high  agitation 
of  the  developer  during  development. 
Special    Notably    Faster 

The  comparison  of  these  resulting 
curves,  in  pairs,  confirms  quantita- 
tively the  fact  which  was  qualitatively 
evidenced  by  the  spectrograms,  that 
there  is  no  appreciable  difference  in 
relative  spectral  sensitivity  in  the 
two  products.  There  is,  however,  a 
notable  increase  in  speed  of  the  spe- 


cial film  over  the  regular.  In  actual 
practice  it  has  been  found  possible  to 
cut  the  set  illumination  from  40  to 
60  per  cent  in  using  this  DuPont  spe- 
cial  panchromatic   negative. 

From  these  data  it  is  evident  that 
the  filter  factors  for  the  special  and 
regular  panchromatic  negative  films 
are  the  same  within  very  close  limits. 
The  lens  stop  or  lighting  used  with 
the  special  film  should,  of  course,  be 
reduced  to  take  account  of  the  in- 
creased speed,  but  the  filter  factors 
themselves  are  essentially  unchanged. 

As  all  successful  filter  users  know, 
the  correct  filter  factor  for  a  given 
set  of  conditions  depends  upon  three 
things,  the  filter,  the  lighting,  and 
the  sensitivity  of  the  film. 

It  is,  of  course,  usual  to  specify  a 
certain  type  or  source  of  light  and 
prepare  a  table  showing  the  factor 
by  which  the  stop  should  be  increased 
to  make  up  for  the  light  adsorbed  by 
each  of  a  series  of  filters.  This  is 
thoroughly  satisfactory  only  when  the 
light  source  is  constant  in  quality 
from  time  to  time  and  place  to  place. 

Daylight  is  not  constant  in  either 
way,  but  must  be  used  for  so  much  of 
the  work  where  a  filter  is  needed  that 
filter  factors  for  it  are  of  great  in- 
terest. Table  1  gives  filter  factors 
obtained  in  sunlight,  and  shows, 
therefore,  the  factor  by  which  aper- 
ture or  time  should  be  increased  to 
compensate  for  filter  absorption. 

When   Test   Shot   Is   Indicated 

Where  the  light  quality  is  not  that 
of  sunlight,  these  factors  cannot  be 
expected  to  hold  accurately  and  a 
test  shot  should,  of  course,  be  made  if 
the  work  is  quite  critical.  Experience 
has  shown  that  for  shadow  shots, 
when  there  is  an  absence  of  sunlight 
but  a  predominance  of  light  from  the 
blue  sky,  the  factors  for  blue  absorb- 
ing filters  should  be  increased  some- 
what over  the  values  given,  and  for 
blue  transmitting  filters,  if  used, 
somewhat  decreased. 

TABLE    1. 

The  body  of  the  table  gives  filter 
factor  for  the  Wratten  filters,  desig- 
nated by  letter,  for  sunlit  scenes,  for 
both  DuPont  special  and  regular  pan- 
chromatic negatives. 


Filter  Factor 

DuPont  Special 

Filter 

DuPo 

nt  Regular 

Kl 

2.2 

K2 

3.1 

K3 

4 

G 

5 

F 

10 

A 

7 

B 

16 

C 

12 

The  photo-micrographs  in  Fig.  3 
show  that  the  increase  in  speed  has 
not  been  at  the  expense  of  grain  size. 
The  importance  of  this  consideration 
is  obvious.  The  two  photo-micro- 
graphs were  made  under  identical  con- 
ditions and  represent  directly  a  true 
comparison  of  the  grain  sizes  in  the 
two  products. 

Use   of    Lights 

The  dark  room  handling  for  camera 
loading  and  processing  both  of  these 
negative  films  is  most  safely  done  in 
total  darkness.  Light  that  does  not 
reach  film  does  not  fog  it.  Under 
some  operating  conditions  both  on 
commercial  and  experimental  scale 
total  darkness  is  a  considerable  han- 
dicap. 

Practical  experience  has  shown 
that,  where  extreme  caution  is  used,  a 
dim  green  safelight  can  be  used, 
which  will  permit  some  vision  and  still 
not  fog  the  film  in  exposures  of  a 
few  minutes  duration.  No  such  light 
can  be  here  successfully  specified  that 
will  meet  all  working  conditions. 

It  is  suggested,  however,  that  where 
such  light  seems  essential,  dim  green 
safelights  be  used  and  tested  in  place. 
Such  a  test  can  readily  be  made  by 
exposing  short  lengths  of  the  type  of 
film  to  be  handled  in  some  simple 
holder  such  as  a  fold  of  black  paper 
or  cardboard  which  will  expose  part 
of  the  film  to  the  light  under  test  and 
protect  part  from  that  light. 

This  may  well  be  in  the  form  of  a 
slide  such  that  the  protecting  cover 
may  be  moved  back  at  specified  time 
intervals,  allowing  a  series  of  expos- 
ures on  one  piece  of  film.  The  thresh- 
old of  fogging  action  can  readily  be 
determined  in  this  manner  with  a 
minimum  of  time,  film  and  effort. 

Developing  such  pieces  of  film  will 
quickly  show  whether  an  exposure  of 
any  chosen  duration  at  the  selected 
position  will  or  will  not  produce  fog 
on  it.  Obviously  no  light  can  be 
judged  safe  when  it  fogs  film  in  a 
time  equal  or  less  than  the  probable 
exposure  of  the  film  to  it  in  process- 
ing. A  factor  of  safety  must  always 
be  considered  to   allow  for  a   possible 


Fig.  1.     Spectrograms  on  DuPont  panchromatic  negatives.     A,  Special.     B,  Regular. 


April,  19  J 1 


The    INTERNATIONAL    PHOTOGRAPHER 


Five 


DuPo/vr 

Panchromatic 


2S 


Fig.  2.  H  and  D  curves  on  DuPont  panchromatic  negatives.  White:  exposed 
to  tungsten  lamp.  Red:  exposed  to  tungsten  lamp  through  A  filter.  Green: 
exposed  to  tungsten  lamp   through  B  filter.    Blue:  exposed  to  tungsten  lamp 

through  C  filter. 


and    probable    variation    in    handling 
time. 

Second    Safety    Factor 

A  second  type  of  safety  factor  must 
be  considered  if  light  is  used  at  more 
than  one  stage,  since  harmful  additive 
exposures  might  occur  to  lights  indi- 
vidually judged  safe  enough.  All  of 
these  considerations  should  lead  one 
to  handle  and  process  the  film  in  total 
darkness  unless  the  value  of  the  pres- 
ence of  light  is  great  enough  to  war- 
rant adequate  planning,  testing  and 
continued   watchfulness  in  use. 

Where  it  has  seemed  desirable  to 
desensitize  film  to  permit  the  use  of 
an  increased  amount  of  light  to  watch 
development,  the  same  procedure  may 
still  be  used.  The  increased  original 
speed  of  the  special  negative  may,  in 
limiting  cases,  require  the  use  of 
slightly  less  light  after  desensitization 
than  could  be  used  with  the  slower 
regular  negative,  but  in  all  tests  made 
desensitization  of  both  was  great 
enough  to  permit  very  satisfactory 
working  light  for  development  after 
desensitization. 

With  all  of  these  facts  in  mind,  the 
DuPont  special  panchromatic  nega- 
tive is  seen  to  require  no  change  in 
technique  of  make-up,  taking  and  pro- 
cessing. In  using  it,  all  that  is  need- 
ed is  to  cut  the  lighting  and  go  ahead 
in  just  the  same  way  as  with  the  reg- 
ular panchromatic  negative. 


leleased  in  the  United  States.     These 
will  be  directed  by  Basil  Dean. 

Martin  photographed  two  subjects 
in  England  last  year,  Galsworthy's 
"Escape"  and  "The  Fourth  Wall"  by 
A.  A.  Milne,  so  the  present  trip  is  a 
return  engagement.  The  pictures  will 
be  photographed  at  the  British  Lion 
studios,  Beaconsfield,  Bucks,  England. 
The  studio  is  situated  8  miles  from 
Windsor  and  28  from  London. 


Perry  Brothers  to  Africa 

Harry  Perry  and  Paul  Perry  left 
Hollywood  March  16  for  a  six  weeks' 
trip  to  northern  Africa  to  photograph 
pictures  in  Multicolor  for  Brown- 
Nagel  productions.  They  will  visit 
among  other  places  Morocco,  Algeria, 
Egypt  and  Mediterranean  ports. 


Martin  Sails  for  England 

To   Shoot  for  Associated 

ROBERT  G.  MARTIN,  with  the 
camera  department  of  Radio 
Pictures,  sailed  for  England 
March  7  to  be  gone  probably  a  year. 
He  will  photograph  for  Associated 
Talking  Pictures,  which  is  making  a 
series  of  six  features  for  Radio  to  be 


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British  Plan  College  to 

Train   Screen   Candidates 

In  Technique  of  Acting 

I~aROM  Trade  Commissioner  Canty 
i  comes  a  report  that  plans  are 
practically  completed  for  the  es- 
tablishment of  a  training  place  for 
film  artists  under  the  title  of  "British 
Cinematograph  Training  College." 
The  head  will  be  Lord  Clanmorris, 
who  is  personally  interested  in  the 
scheme,  to  which  he  has  devoted  six 
months  preliminary  work. 

According  to  a  reported  statement 
of  Lord  Clanmorris  it  is  the  aim  of 
the  scheme  to  discover  and  train  po- 
tential artists  for  the  films.  Pupils, 
however,  will  be  chosen  by  a  careful 
process  of  elimination,  so  as  to  pre- 
vent the  entry  of  unsuitable  subjects. 

Applicants  must  pass  a  preliminary 
test,  if  they  are  considered  as  "possi- 
ble," taking  about  fifteen  minutes,  for 
which  a  nominal  fee  will  be  charged 
(this  is  to  prevent  applications  from 
candidates  who  are  not  serious  in 
their  intentions). 

Those  who  pass  the  first  test  will 
go  through  a  course  of  training  for 
about  a  week,  for  which  the  fee  will 
be  £1  10s.,  and  at  the  end  of  that  time 
there  will  be  a  further  elimination,  to 
weed  out  the  students  who  prove  to 
be  unpromising. 

The  remainder  will  be  trained  dur- 
ing a  number  of  terms  for  about  a 
year  in  deportment,  stage  acting,  elo- 
cution and  make-up — in  fact,  in  the 
technical  side  of  acting,  and  will  be 
taught  the  technical  details  of  sound 
lecording.  The  cost  will  be  £13  10s. 
a  term  of  nine  weeks.  Premises  pro- 
viding for  four  studios  are  in  view. 
The  general  attitude  of  the  trade  is 
reported  to  be  distinctly  favorable  to 
the  new  proposition. 


Charney  Off  and  Home  Again 

C.  King  Charney,  Agfa  representa- 
tive, has  returned  from  a  two  weeks' 
visit  to  the  factory  of  his  employers 
in  Binghamton,  New  York. 


•»    . 


3  -v-.v 


Fig.  3.     Photo-micrographs  of  grains 

A,  Special 


ft      o  •  ^.i   I     »       „   •  • 


from  DuPont   panchromatic  negatives. 
B,  Regular 


Six 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  1931 


Super- Sensitive  Cut  Film  Is  Here 


Eastman  Announces  New  Panchromatic  Emulsion 

Under  Inkies  Is  From  Five  to  Six  Times 

as  Fast  as  Par  Speed  Portrait 


NEWS  of  one  of  the  most  re- 
markable achievements  in  film- 
making history  is  made  known 
through  an  announcement  from  the 
Research  Laboratoi'ies  at  Kodak 
Park,  Rochester,  telling  of  a  funda- 
mental improvement  of  light-sensi- 
tive emulsions  that  is  sweeping  away 
many  photographic  difficulties  of  the 
past  and  bringing  a  broader  scope  of 
usefulness  to  photography. 

The  direct  result  of  the  discovery 
is  Eastman's  new  super-sensitive  pan- 
chromatic cut  film. 

With  incandescent  lamps  the  new 
super-sensitive  panchromatic  film  is 
from  two  to  three  times  as  fast  as 
portrait  panchromatic,  a  "speed"  sen- 
sation when  announced  two  years 
ago.  The  sensitivity  of  the  super- 
sensitive panchi-omatic  film,  usually 
termed  speed,  is  greatest  when  in- 
candescent lights  are  used,  because 
this  form  of  illumination  contains  a 
higher  percentage  of  red  than  day- 
light or  the  light  from  arc  lamps. 

To  give  one  the  best  idea  of  what 
the  extreme  color-sensitivity  of  this 
new  super-sensitive  film  means  to  the 
man  who  works  with  artificial  light 
we  should  compare  it  with  Par-Speed 
portrait  film  because  this  is  a  stand- 
ard matei'ial  used  by  both  portrait 
and    commercial    photographers. 

With  clear  incandescent  lamps  the 
super-sensitive  panchromatic  is  from 
five  to  six  times  as  fast  as  Par-Speed. 
This  means  that  if  you  have  been  ac- 
customed to  making  exposures  of 
from  two  to  three  seconds  with  Par- 
Speed  film  your  exposures  with  the 
super-sensitive  panchromatic  would 
be  about  one-half  second.  If  you  have 
used  enough  light  to  photograph 
children  in  one-fifth  of  a  second  with 
Par-Speed  your  exposure  with  super- 
sensitive panchromatic  film  would  be 
one  twenty-fifth  of  a  second — too  fast 
for  a  bulb  exposure. 

Great  Possibilities 

Such  speed  opens  up  unlimited 
possibilities  in  both  commercial  and 
portrait  photography.  The  commer- 
cial photographer  will  look  upon  this 
increase  in  speed  not  so  much  as  a 
means  of  making  fast  exposures  but 
rather  for  the  advantage  of  making 
exposures  with  less  light.  When  the 
photographer  goes  on  an  outside  job 
he  can  feel  safe  with  half  his  usual 
amount  of  lighting  equipment  and 
will  secure  twice  as  much  benefit 
from  the  illumination  he  finds  on 
location.  And  for  studio  set-ups, 
which  often  require  long  exposures, 
exposure  time  will  be  cut  more  than 
half,  which  is  a  great  advantage  in 
studio  work. 

The  same  applies  to  home  portrait- 
ure.     Lighting    equipment    has    made 


the  work  of  the  home  photographer 
rather  difficult.  If  he  now  has  ample 
light  he  can  either  be  relieved  of 
much  of  his  burden,  or  shorten  his 
exposures  and  be  more  certain  of 
negatives  which  do  not  show  move- 
ment. This  latter  procedure  is  the 
logical  one  for  photographing  chil- 
dren. 

Industrial  photographers  are  often 
faced  with  the  problem  of  obtaining 
sufficient  artificial  lighting  for  sub- 
jects such  as  "long  shots"  of  factory 
interiors  or  close-ups  of  machines 
with  operators.  Flashlights  are  banned 
in  many  plants,  although  the  new 
photo-flash  lamps  have  entirely  elim- 
inated smoke  and  the  fire  hazard. 
Since  the  super-sensitive  panchro- 
matic film  is  especially  efficient  under 
artificial  light  industrial  photography 
is  obviously  simplified. 

First,  photographers  will  no  longer 
be  required  to  clutter  working  areas 
with  large  numbers  of  heavy  lamps, 
and  thereby  avoid  hampering  general 
factory  operations. 

Second,  the  amount  of  electric 
"load"  is  cut  down. 

Third,  where  the  usual  amount  of 
artificial  light  is  available  much 
shorter  exposures  are  possible.  This 
is  valuable  in  arresting  the  motion  of 
people  or  moving  objects.  If  shorter 
exposures  are  not  required  smaller 
lens  stops  can  be  employed  to  increase 
sharpness  and  "depth  of  field." 
In  Standard   Sizes 

The  value  of  the  super  sensitive 
panchromatic  film  is  equally  well  ap- 
plied to  industrial  photo-micrographic 
work,  such  as  studies  of  metal  struc- 
ture. The  qualities  of  the  new  film 
will  answer  the  requirements  for 
combining  speed,  color  sensitivity  and 
fine  grain. 

The  advantage  of  reducing  expos- 
ures to  a  minimum  when  working 
under  artificial  light  is  highly  valua- 
ble in  doing  live  model  work.  No 
longer  are  models  required  to  endure 
long,  strained  poses  that  often  result 
in  stiff  and  ungraceful  postures,  and 
incidentally  a  series  of  "retakes." 

In  the  past  it  has  not  been  uncom- 
mon for  model  "shots"  to  require  five, 
ten  seconds — even  more — quite  a  long 
time  for  any  but  highly  trained  mod- 
els to  remain  motionless.  Short  ex- 
posures usually  result  in  more  pleas- 
ing poses. 

The  new  panchromatic  emulsion  is, 
in  addition  to  all  standard  sizes  for 
still  photography,  available  in  35  mm. 
motion  picture  film.  Industrial  pho- 
tographers who  do  motion  picture 
work  will  find  that  when  using  the 
super-sensitive  panchromatic  film  un- 
der incandescent  lamps  the  usual 
amount  of  light  can  be  reduced  from 


one-third  to  one-half.  This  factor  is 
very  important  in  modern  time  study 
of  factory  operations  with  the  motion 
picture  camera. 

The  sensitive  emulsion  of  this  new 
film  is  very  closely  related  to  one 
prepared  for  astronomical  photog- 
raphy, as  well  as  to  the  new 
Wratten  hypersensitive  panchromatic 
plates  for  the  high-speed  require- 
ments of  newspaper  photography 
under  artificial  light. 

Cut  More  Than  Half 

Astronomers,  it  has  been  learned, 
used  the  new  emulsion  recently  in 
making  observations  seeking  to  dis- 
cover whether  there  is  moisture  in 
the  atmosphere  of  Mars.  The  neces- 
sary time  for  exposing  the  plates  in 
the  spectroscope  was  reduced  from 
ten  hours  to  four  in  the  observations 
in  question. 

Eastman's  new  super-sensitive  pan- 
chromatic film  presents  the  very 
great  advantage  of  speed  without  the 
sacrifice  of  those  qualities  so  essen- 
tial to  fine  portraiture  or  commer- 
cial photography.  It  has  fine  grain, 
excellent  exposure  latitude,  and  builds 
up  in  the  developer  without  blocking. 

There  is  one  very  important  pre- 
caution in  the  use  of  this  new  film 
which  is  necessary  to  good  results. 
A  film  so  sensitive  to  light  of  all 
colors  cannot  be  exposed  to  light  of 
any  color  in  a  dark  room  without  no- 
ticeable "fogging."  The  film  must  be 
opened,  loaded  and  developed  in  total 
darkness.  After  about  five  minutes 
of  immersion  in  the  developing  solu- 
tion, a  certain  amount  of  desensitizing 
takes  place  permitting  the  use  of  a 
Series  III  Safelight  for  the  remain- 
ing period  of  processing.  It  is  rec- 
ommended that  the  time  and  temper- 
ature method  of  development  be  used 
when  working  with  this  high-speed 
emulsion.  Once  the  time  and  temper- 
ature system  is  established  as  stand- 
ard practice,  it  will  be  found  to  be 
the  most  satisfactory  method  of  de- 
velopment. 

Photography,  the  universal  lan- 
guage, has  received  a  valuable  addi- 
tion to  its  "vocabulary"  by  the  advent 
of  the  super-sensitive  panchromatic 
film,  which  will  afford  the  modern 
photographer  new  worlds  to  conquer. 


German  Companies  Decrease 

During  1930,  according  to  the  Ger- 
man press,  a  total  of  156  companies 
is  reported  to  have  liquidated  affairs 
in  the  German  motion  picture  indus- 
try, as  against  153  newly  founded  con- 
cerns. It  is  stated  that  the  first  fig- 
ure does  not  include  liquidations  by 
legal  authorities,  so  that  the  real 
number  of  companies  failing  is  dis- 
tinctly superior  to  that  of  the  new 
organizations. 

Inasmuch  as  share  capital  of  the 
companies  is  considered,  it  appears 
that  there  is  a  total  increase  of  some 
2,000,000  marks  capital  invested  in 
limited  liability  concerns,  liquidations 
still  being  left  out  of  consideration. 


April,  1931  The    INTERNATIONAL    PHOTOGRAPHER  Seven 

* 

A    PLEDGE 

To  Theatre  Owners,  Managers 
and  Projectionists  to  Maintain 


TRADE   MARK   REGD. 


SUPREMACY 

It  has  been  our  responsibility  to  satisfy  the 
needs  of  the  motion  picture  industry  and 
to  meet  many  emergencies  created  during 
a  period  of  extraordinary  expansion  and 
unparalleled  activity. 

With  increased  manufacturing  facilities  and 
closer  contact  with  our  selling  organization 
we  pledge  this  great  industry  that  we  will 
render  even  greater  service  and  maintain 
the  high  quality  which  has  won  a  world- 
wide supremacy  for 


TRADE    MARK    REG'D. 


THE      INTERNATIONAL      PROJECTOR 


INTERNATIONAL  PROJECTOR  CORPORATION 

90  COLD  STREET  NEW  YORK 


Eight 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  1931 


'  Under  Paris  Roofs'  Good  Picture 


France's  First  All  Talker  to  be  Shown  in  America 

Fascinating  Subject  with  Simplicity 

Outstanding-  Note 


FRANCE'S  first  all-talking  film 
to  be  sent  to  the  United  States 
is  "Sous  Les  Toits  de  Paris" 
(Under  the  Roofs  of  Paris),  shown  re- 
cently at  the  Filmarte  in  Hollywood. 
Not  exactly  is  it  all  talking  in  so  far 
as  concerns  the  recording  of  all  con- 
versation. The  French  have  recognized 
that  much  lip  movement  is  seen  in 
ordinary  life  without  the  accompany- 
ing sounds  reaching  the  ear  of  one 
outside  the  immediate  circle. 

And  so  it  is  in  this  Rene  Clair  film. 
Much  of  the  action  is  in  intelligible 
pantomime,  the  vocal  or  audible  con- 
versation being  the  exception  rather 
than  the  rule. 

Even  to  one  who  has  no  more  con- 
ception of  French  than  he  has  of 
Senegalese  the  picture  is  altogether 
fascinating.  One  of  the  chief  fac- 
tors contributing  to  this  charm  is  its 
simplicity — in  story  and  in  treat- 
ment being  strongly  reminiscent  of 
the  Griffith  Biographs  of  twenty 
years  ago.  Practically  in  its  more 
than  an  hour  and  a  half  of  running 
there  is  not  a  silk  hat  or  a  silk  stock- 
ing in  evidence. 

The  tale  is  around  the  plainest  and 
most  humble  of  persons.  There  are 
a  street  singer  and  his  chum;  there 
is  a  girl  seemingly  of  the  street  and 
yet  when  the  test  comes  apparently 
is  something  else  again;  and  there  is 
a  real  mean  heavy  who  neither  toils 
nor  spins.  There  are  honest  men  and 
there  are  thieves.  And  there  is  an 
accordeon  player,  as  tireless  as  he 
is  skillful.  From  him  we  hear  much 
— but  never  too  much. 

Story  Told  by  Camera 

The  story  is  told  by  camera  nearly 
altogether,  with  Perinal  and  Raulet 
behind  the  lens.  In  one  of  the  se- 
quences in  which  is  established  the 
background  for  the  title  the  camera 
is    tilted    down    from    an    apartment 


Pola  Illery 


house  roof,  reaching  into  each  of  the 
successive  five  floors — with  a  shot 
into  the  not  altogether  blinded  win- 
dows. Nothing  shocking  results, 
although  some  spectators  seem  to  be 
all  prepared  for  the  worst.  The 
illusion    really    is   quite   complete. 

If  the  memory  serve  it  is  on  one  of 
these  exploratory  excursions  we  meet 
up  with  the  heroine — as  she  is  en- 
gaged in  adjusting  the  garters  on 
her  stockings.  It  is  possible  the  mem- 
ory does  not  serve;  maybe  it  was  not 
the  heroine. 

Another  notable  factor  of  the  pic- 
ture is  the  close  attention  given  by 
those  responsible  for  the  recording, 
Messrs.  Storr,  Merhenn  and  Le  Hen- 
aff,  to  make  certain  the  volume  of 
sound  corresponds  to  the  apparent 
distance  existing  between  its  source 
and  the  camera,  with  due  regard  of 
course  to  intervening  obstacles.  The 
sound  rises  or  falls  as  a  character 
enters  or  leaves  a  door,  for  instance. 

The  story  grips  through  strength  of 
appeal  in  literary  quality  rather  than 
from  the  display  of  physical  force. 
The  only  notable  departure  from  this 
rule  is  in  a  street  duel  with  knives, 
a    really   thrilling    sequence. 

There  are  numbers  of  lighter  mo- 
ments. Just  to  enumerate  one  of  these, 
Pola  has  been  escorted  home  by  Al- 
bert, the  singer.  When  he  begs  the 
privilege  of  going  to  Pola's  room  the 
young  woman  says  him  nay.  As 
Albert  finally  and  reluctantly  leaves, 
Pola  thinks  of  her  nightkey  a  short 
time  before  lifted  from  her  purse 
by  the  husky  parasite  Fred,  who  even 
then  may  be  on  his  way  to  use  it. 

Pola  runs  to  join  Albert  and  tells 
him  of  her  predicament.  The  singer 
extends  the  hospitality  of  his  room, 
which  is  accepted.  A  fade-in  discloses 
Pola  in  bed,  with  Albert  in  pajamas. 
When  the  singer  moves  to  get  into 
bed,  too,  the  riot  starts. 
Near  Hysteria 

In  disgust  Albert  puts  out  the 
light.  A  second  later  a  flood  of  rapid 
and  heated  conversation  bursts — 
the  room  being  in  utter  darkness  ex- 
cept for  the  faint  backlight  proceed- 
ing from  a  half  window  behind  the 
bed  and  across  which  flashes  an  occa- 
sional declamatory  even  if  shadowy 
arm. 

The  reaction  of  the  scene  on  the 
femine  portion  of  what  may  be  de- 
scribed as  a  high  class  house  is 
marked,  particularly  among  those  pal- 
pably understanding  the  staccatissimo 
verbal  duet.  It  ranges  from  mirth  to 
near  hysteria. 

The  battle  suddenly  ends  as  Albert 
retires  from  the  field  and  turns  on 
the  light.  Pola  climbs  out  of  bed,  too, 
peevishly  yanks  a  blanket  from  it  and 


curls  up  on  the  floor  alongside.  Albert, 
like  a  true  Frenchman  not  to  be  out- 
done in  politeness  follows  suit — and 
apparently  quite  as  put  out  about  the 
situation  as  the  lady — takes  the  re- 
maining blanket  and  parks  on  the 
floor  on  the  other  side.  Before  the 
fade-out  there  is  a  whimsical  smile  on 
the  face  of  Pola. 

In  the  morning  as  the  pair  are 
leaving  the  room  Pola  invitingly  up- 
turns a  very  sweet  face  to  receive  the 
kiss  Albert  tenderly  implants. 

There  is  a  surprising  twist  to  the 
finish,  wherein  for  no  apparent  good 
reason  at  all  as  mere  man  is  per- 
mitted to  diagnose  the  situation  the 
heroine  transfers  her  affections  to 
Louis,  the  friend  of  Albert.  But  mere 
man  knows  only  too  well  that  fre- 
quently in  life  even  if  seldom  in  fic- 
tion such  things  really  do  happen. 

Frank  Clifford  directs  this  inter- 
esting subject  from  the  scenario  and 
continuity  of  Rene  Clair.  The  roles 
of  Albert  and  Pola  are  taken  most 
creditably  by  Albert  Prejean  and 
Pola  Illery. 

That  the  picturegoers  of  Holly- 
wood are  deeply  concerned  about 
"Under  the  Roofs  of  Paris"  is  indi- 
cated by  the  remark  of  Manager  Fred 
Budrow  of  the  Filmarte  that  practi- 
cally every  major  studio  had  sought 
a  loan  of  the  print.  The  statement 
reflects  the  good  judgment  of  the 
studio  chiefs.  There  is  much  in  the 
craftsmanship  of  the  picture  from 
which  Americans — or  others — may  de- 
rive benefit  from  analyzing. 
France  a  Pioneer 

The  younger  generation  of  picture- 
makers  may  rest  under  the  delusion 
that  because  some  of  the  important 
inventions  underlying  the  making  and 
projection  of  pictures  originated  here 
Uncle  Sam  always  has  been  at  the 
head  of  the  motion  picture  procession. 
Of  course  in  full  truth  he  has  been  in 
no  such  position. 

Twenty   years    ago    France   plainly 
was  in  the  lead  in  artistic  picture  pro- 
duction— and   so    remained    up   to   the 
outbreak    of    the    war,    when    practi- 
(Contiynted  on  Page  27) 


Albert  Prejean 


April,  19S1 


The    INTERNATIONAL    PHOTOGRAPHER 


Nine 


Shooting  JVhales  with  the  Camera 


How  the  Tars  of  New  Bedford  Worked  in  the  Days 

of  1850  When  Men  Had  to  be  Men  Because 

Whales  Were  Whales 

By  MAURICE  KAINS 


ON  Washington's  birthday,  1922, 
the  Gaspe,  a  125-foot  fishing- 
boat  equipped  for  whaling  and 
photographing,  set  sail  for  the  Carib- 
bean Sea  from  the  home  of  the  whal- 
ing industry,  New  Bedford,  Mass.  A 
group  of  religious  folk  sang  hymns 
and  prayed  for  our  safe  and  success- 
ful return,  just  as  they  had  done  in 
1850,  when  whaling-  was  a  major  in- 
dustry. 

As  we  pulled  away  from  the  pier 
we  could  hear  the  voices  becoming- 
fainter  and  fainter.  To  tell  the  truth, 
we  of  the  movie  group  were  getting 
fainter,  too,  for  none  of  us  had  ever 
seen  a  whale  except  in  our  school 
geography  books. 

Fortunately  our  captain  and  crew 
were  "old  timers."  This  was  a  little 
consolation  for  us.  Frequently  cam- 
eramen are  sent  out  to  photograph 
the  capture  of  a  whale  as  they  are 
caught  at  the  present  time,  by  shoot- 
ing at  it  from  the  comparatively  safe 
deck  of  a  good  sized  boat,  and  from  a 
safe  distance. 

But  we  realized  we  were  up  against 
a  different  proposition,  for  our  story, 
laid  in   1850,   required   that  we  catch 


our  whales  as  the  whalers  had  done 
in  the  old  days,  a  method  fraught 
with  risks  and  hardships.  The  cam- 
era work  was  in  charge  of  Alexan- 
der Penrod  of  Local  644  and  Paul 
Allen  and  myself,  now  of  Local  659. 

The  crew,  ranging  from  college 
boys  to  Portuguese  negroes,  were  all 
glad  to  see  land  again  after  two 
weeks  of  "bum  grub."  A  very  im- 
portant little  black  man  came  out  to 
our  boat  one  morning  to  pilot  us  into 
the  Ozama  river  and  show  us  where 
we  could  cast  anchor. 

I  shall  never  forget  his  air  of  big 
responsibilities  as  he  perched  himself 
alongside  of  our  captain,  holding  a 
large,  faded  umbrella  over  his  official 
eyes,  and  shouting  commands  in 
Spanish  to  our  crew  as  he  puffed  on 
a  very  large  but  cheap  cigar.  At 
last  we  had  arrived  at  Santo  Do- 
mingo, resting  place  of  one  Christo- 
pher Columbus.  Our  purpose  in  stop- 
ping here  was  to  have  two  marine 
tripods  built  for  us  out  of  Ford  parts 
and  five-gallon  oil  cans. 

During  the  wait  we  shot  market 
scenes,  the  prison  and  inmates,  the 
famous    church    where    Columbus    is 


said  to  rest,  and  tried  to  get  interior 
shots  of  the  Three  Eyes  underground 
lakes  and  caves,  but  our  flares  filled 
the  caves  with  white  smoke,  which 
we  could  not  get  out,  so  we  lost  those 
scenes.  The  reflections  of  the  ceiling 
on  the  lakes  were  magnificent  while 
they  lasted. 

Thar  She  Blows! 

We  had  no  sooner  arrived  at  our 
whaling  grounds  off  the  coast  of  Haiti 
when  we  heard  "Thar  she  blows,"  and 
the  chase  was  on.  Quickly  the  crew 
lowered  four  small  whaleboats.  One 
of  these  was  powered  with  a  motor, 
and  also  had  a  marine  tripod  "made 
fast"  to  the  seats.  The  close-ups  and 
chase  shots  were  all  made  from  this 
craft.  Of  course  the  camera  was  mo- 
tor driven,  too. 

There  were  at  least  a  dozen  whales 
within  easy  calling  distance  of  us. 
They  were  easily  approached  from 
the  rear,  as  they  were  swimming  only 
about  six  miles  an  hour  and  could 
not  see  us  as  we  attacked  from  this 
angle.  Penrod  was  so  engrossed  in 
getting  his  shots  that  he  had  not  no- 
ticed four  big  sperm  whales  charging 
his  boat  from  behind.  Paul  and  I 
were  set  up  on  either  end  of  the 
Gaspe.  We  shouted  a  warning  to 
Penrod,  but  he  could  not  hear  us.  On 
came  the  four  monsters,  and  it  looked 
like  curtains  for  Penrod. 

But,  believe  it  or  not,  those  whales 
lost  their  nerve  or  something,  and 
just  as  they  were  three  feet  from  the 


In  the  main  picture  we  see  what  a  part  of  the  flukes  or  tail  of  a  67-foot,  100-ton  whale  looks  like.  Maury  Kains  is 
behind  the  whiskers  in  oval.  The  reason  for  the  bathtub  shoivn  on  the  right  will  be  found  in  the  very  respectably 
sized  shark  (13  feet)  suspended  alongside — the  presence  of  these  monsters  in  the  ivaters  about  the  whaler  making 
swimming  out  of  the  question  for  a  man  having  wholesome  regard  for  the  integrity  of  his  anatomy.  The  pictures  of 
the  flukes  and  of  the  shark  were  photographed  by  Alex  G.  Penrod,  Local  6UU,  who  met  so  tragic  a  death  in  the  ex- 
plosion of  the   sealer  Viking,  March  15,  in  Newfoundland   ivaters. 


Ten 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  1931 


craft  they  slipped  gracefully  under- 
neath and  rose  on  the  opposite  side, 
blowing  their  stinking  breath  almost 
in  his  face.  The  other  whaleboats 
meanwhile  were  after  the  rest  of  the 
family. 

Equipped  to  Kill 

Each  whaleboat  is  completely 
equipped  to  capture  and  kill  a  whale. 
There  are  harpoons,  long  handled 
lances,  tubs  of  carefully  coiled  rope, 
sharp  knives  and  a  heavy  brass  rifle 
which  shoots  a  large  dart  into  Mr. 
Whale's  department  of  the  interior. 

If  he  shows  too  much  fight  a  bomb 
is  used.  This  explodes  after  arriving 
at  its  destination.  The  coiled  rope  is 
placed  astern  and  is  passed  over  the 
tops  of  the  oar  handles  so  that  it  can- 
not entangle  the  feet  of  the  crew  and 
pull  them  overboard  during  a  battle. 
Then  it  is  passed  through  a  pulley  or 
an  eyelet  at  the  bow  of  the  boat  and 
then  fastened  to  the  harpoon. 

One  man  it  detailed  to  bail  water 
on  this  coil  of  rope  after  a  whale  is 
hit  because  the  rope  passes  through 
the  eyelet  so  fast  that  if  the  rope  is 
not  thoroughly  wet  the  boat  would 
catch  fire  from  friction. 

The  harpooner  is  stationed  in  the 
bow.  He  carries  a  razor-sharp  knife 
as  well  as  several  harpoons.  This  is 
used  when  a  whale  insists  on  taking 
the  whaleboat  on  a  "Nantucket  sleigh- 
ride,"  which  is  whaler's  lingo  for  a 
ride  clear  out  of  sight  of  the  main 
ship,  the  whale  supplying  free  power. 

If  he  succeeds  in  getting  the  boat 
into  deep  water  his  trick  is  to  "sound" 
or  dive,  thus  pulling  boat  and  crew 
under  with  him.  It  is  at  this  stage 
of  the  fight  that  the  harpooner  cuts 
the  line  and  the  whale  is  allowed  to 
go  free  rather  than  take  the  risk  of 
swamping  the  boat  with  possible  cas- 
ualties. 

After  considerable  maneuvering,  we 
finally  struck  a  male  and  towed  him 
to  our  main  ship,  where  the  work  of 
"cutting  in"  is  done,  and  the  process 
of  "trying  out"  or  getting  the  oil  is 
handled.  If  this  is  not  done  soon 
after  the  death  of  the  whale,  the  oil 
quickly  spoils  and  is  worthless. 

Whale  Head  Oil 

A  whale  gives  an  unbelievable 
amount  of  oil  from  the  blubber,  which 
is  ripped  from  the  body  in  large 
blankets  of  about  a  foot  in  thickness. 
A  large  hole  is  cut  in  the  top  of  the 
head  and  a  bucket  is  lowered  inside 
and  a  higher  grade  of  oil  is  found  in 
a  sort  of  well,  enough  to  fill  several 
barrels.  This  is  watch  oil  and  is 
quite  similar  to  the  oil  we  now  use  in 
our  cameras.  Then  there  is  some 
wax,  and  the  teeth  are  ivory. 

In  rare  cases  ambergris  is  found  in 
the  intestines  of  a  sick  whale.  This 
is  used  in  expensive  perfumes  and  is 
worth  many  dollars  an  ounce.  The 
odors  of  the  processing,  especially  in 
the  tropics,   is  almost  unbearable. 

New  Bedford,  as  it  is  today,  with 
its  many  prosperous  cloth  mills,  has 
been  built  up  by  the  money  it  earned 
with  its  old  whaling  industry. 

The  usual  procedure  after  sighting 
a  whale  is  to  lower  the  small  whale- 
boats  and  sail  after  the  whale  until 
within  a  mile  of  him.     Then  the  sails 


are  lowered  so  that  he  won't  catch 
sight  of  you.  From  now  on  you  row 
or  paddle,  making  as  little  noise  as 
possible,  and  approaching  him  from 
behind.  When  within  ten  feet  of  him 
the  harpooner  throws  his  iron  into 
him  and  then  the  fun  begins. 

The  whale  dives  and  whips  around 
you  in  circles.  Then  he  comes  up 
again  and  repeats.  In  fact  he  does 
almost  everything  he  can  to  scare  you 
or  sink  your  ship.  Sometimes  he 
comes  close  enough  for  the  harpooner 
to  lance  his  heart  and  bleed  him  to 
death.  The  waters  become  red  with 
blood.  Or  his  lungs  are  punctured 
and  he  spouts  blood  at  every  breath. 
After  a  while  he  expires  and  is 
towed  alongside. 

The  sharks  now  begin  to  hover 
around.  They  have  scented  the  blood. 
I  missed  one  dandy  shot  for  the  need 
of  an  Akeley  camera.  A  large  shark 
had  spotted  the  fin  of  the  whale,  and 
it  looked  good  to  him.  He  circled  our 
ship  a  few  times  and  then  mustered 
sufficient  courage  to  seize  the  fin, 
which  was  now  projecting  above  the 
surface  of  the  water. 

Shark  and  Whale 

It  was  tough  stuff.  Vainly  the 
shark  struggled  on,  lashing  the  water 
into  a  fury  with  his  tail.  One  of  the 
crew,  who  was  standing  on  the  "cut- 
ing  in"  stage  board,  heard  the  commo- 
tion behind  him  and  turned  inquisi- 
tively. Seeing  at  a  glance  what  was 
going  on,  he  grasped  his  "cutting-in" 
spade,  a  sort  of  flattened  out  hoe  with 
a  ten-foot  handle,  and  drove  it  into 
the  shark  with  all  his  might.  The 
shark,  with  a  mighty  jerk,  wrested 
the  spade  from  the  man's  grasp  and 
swam  off  with  it  sticking  in  his  back. 
I  watched  him  for  two  full  minutes 
until  he  was  completely  out  of  my 
sight,  the  harpoon  still  remaining  up- 
right above  the  surface  of  the  water, 
traveling  along  like  the  periscope  of 
a  mighty  submarine.  And  to  think 
that  I  missed  that  one  because  my 
camera  wouldn't  "pan"  fast  enough 
for  me. 

That  night  when  Captain  Tilton 
saw  what  his  men  had  brought  in  he 
laughed  them  to  scorn.  It  was  "only 
a  baby"  he  guffawed.  Thirty-four 
feet  long  and  "only  a  baby."  I'd 
hate  to  meet  the  folks. 

But  New  Bedford  must  never  hear 
of  this  or  we  would  be  "raspberried" 
for  life.  So  we  had  to  stay  down 
until  we  had  caught  a  few  more. 

Finally  we  hooked  a  sixty-seven 
footer,  weighing  nearly  a  hundred 
tons.  Some  bacon  to  bring  home. 
But  we  finally  did,  as  was  proved  by 
the  miraculous  whaling  scenes  shown 
in  our  production,  "Down  to  the  Sea 
in  Ships,"  which  caused  a  sensation 
everywhere  it  was  shown,  a  tribute 
to  the  courage  and  art  of  the  cine- 
matographer. 

Chronic  mal  de  mer  had  reduced 
me  to  a  mere  shadow  of  my  former 
self.  I  swore  by  all  that  I  held  holy 
that  I  had  made  my  last  whaling  trip. 
Then  Roy  Klaffki  sent  me  to  meet 
Irvin  Willat,  who  had  heard  that  I 
had  been  on  a  whaling  picture.  Mr. 
Willat,  too,  was  making  a  whaling 
epic,  entitled  "All  the  Brothers  Were 
Valiant." 


So  after  we  caught  the  whale  for 
Willat  we  punctured  its  lungs  and 
filled  them  with  compressed  air  and 
floated  it  into  port.  And  again  I 
swore  I  would  never  again  go  whal- 
ing. But  you  know  I  would,  don't 
you,  "for  art's  sake"?  Ain't  that  just 
like  a  cameraman? 

P.  S—  "All  the  Brothers  Were 
Valiant." 


How  the  Juicers  Describe 
the  Tools  They  Use  When 
Talking  Among  Themselves 

Light  is  their  stock-in-trade;  they 
furnish  it  in  any  quantity  and  quality 
desired. 

They  are  the  electricians  who  sup- 
ply the  illumination  without  which 
no  interior  motion  picture  scene  could 
be  taken. 

Their  position  on  a  film  set  is  com- 
parable to  that  of  the  construction 
crew  which  takes  the  blueprints  of 
the  architects  and  creates  realistic 
backgrounds  from  drawings  and  lines. 

For  the  electrician,  with  light  as 
his  material,  builds  a  background  of 
effects  from  the  instructions  of  the 
cameraman. 

To  stroll  on  to  a  Paramount  stage 
and  listen  to  S.  H.  Burton,  chief  elec- 
trician, and  Jim  Tait,  his  assistant, 
talk  about  lighting  the  set,  one  would 
be  bewildered  by  the  expressions  used. 

To  begin  with,  Barton  is  known  as 
the  "gaffer"  and  Tait  the  "best  boy." 
Their  crew  are  "juicers"  and  they 
deal  in  "juice."  They  call  for  light 
with  the  term  "hit  'em"  and  extin- 
guish the  same  with  "save  'em." 
When  they  finish  a  set,  it  is  "wrap 
'em  up,"  meaning  to  remove  all  "iron" 
(equipment). 

They  speak  of  "inkies"  (incandes- 
cent lights),  "coopies"  (Cooper-Hew- 
itts or  hard  lights),  "broads"  (box- 
like lights),  "G.  E.'s"  (incandescent 
light  bulbs),  "scoops"  (hanging  broad 
lamps),  "silks"  (coverings  to  soften 
lights),  "spiders"  (electrical  oscilla- 
tions), "kliegs"  (carbon  arc  lamps), 
"sun  arcs"  (huge  carbon  lamps), 
"gobos"  (small  shield  to  cut  off  part 
of  the  light),  and  "18's,"  "24's"  and 
other  similar  terms  to  designate 
lamps  of  certain  diameters.  When  a 
set  is  "hot"  it  has  an  abundance  of 
light. 


Ail-American  Salon  to  Be 

Opened  June  15  at  Museum 

AN  All  -  American  Photographic 
Salon  is  announced  for  June 
15-30,  to  be  held  in  the  Print 
Rooms  of  the  Los  Angeles  Museum. 
New  prints  which  have  never  been 
exhibited  in  Los  Angeles  or  repro- 
duced before  January,  1930,  are  pre- 
ferred and  no  hand-colored  prints 
will  be  accepted.  Mounts  of  light 
color,  size  not  more  than  20  inches 
either  way,  are  specified  for  better 
harmony  of  the  exhibition.  An  entry 
fee  of  $1  will  be  charged. 

Everyone  is  invited  to  submit 
prints.  Requests  for  entry  forms  and 
complete  information  should  be  di- 
rected to  the  All-American  Salon 
Committee,  Los  Angeles  Museum,  Ex- 
position Park,  Los  Angeles. 


April,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Elevn 


Thorough  tests 

TELL  THE  TRUTH 


^fe  products  recent- 
ly were  adopted  by  Paramount- 
Publix  Corporation  as  standard 
equipment.  This  decision  is  the 
result  of  numerous  and  strenu- 
out  tests  given  J^c^J  lighting 
equipment,  together  with  com- 
petitive products,  in  an  en- 
deavor to  determine  the  type  and 
make  of  lamp  best  adapted  to 
motion  picture  production  of 
today. 

Outstanding  features  of 
JZ&ecJ^fe  equipment  —  de- 
pendability with  low  operating 
cost  that  could  be  determined 
only  after  comparative  tests  had 
been  made  over  considerable 
length  of  time  —  are  important 


i  i 


If      It 


s   not   a 


reasons  why  Jgczcc  products 
have  been  standardized  by  the 
Paramount  organization. 

In  the  dependability  of 
JZ&eeJZ^te*  is  incorporated  ab- 
solute silence  with  exceptionally 
efficient  performance  —  while 
low  cost  of  operation  is  due  to 
light  weight,  ease  of  handling 
and  faultless  construction. 

In  its  standardization  of 
JZ&cc  equipment,  Paramount- 
Publix  Corporation  is  assured 
of  the  consistent  cooperation  of 
Lakin  Corporation  in  its  en- 
deavor to  perpetuate  the  excel- 
lent performance  of  the  500 
jZ&gc  units  now  employed  by 
the  Paramount  organization. 


it's   not    silent! 


y  j 


LAKIN  CORPORATION 


707  Naud  Street 


Los  Angeles,  California 


CApitol  14118 


Twelve  The    INTERNATIONAL    PHOTOGRAPHER  April,  1941 

MAZDA    .    .    .   NOT    THE    NAME    OF    A    THING    BUT    THE     MARK    OF     A     RESEARCH     SERVICE 


TOl      fsri 


HL*-Tv""Ke 


'««>  and  straw,  T  I 


^ers  Last  Year 


1930S  BEST 
PICTURES 

ALL  QUIET 

ON  THE  WESTERN   FRONT 

ABRAHAM  LINCOLN 
HOLIDAY 
JOURNEY'S  END 
ANNIE  CHRISTIE 
THE  BIG  HOUSE 
WITH   BYRD 

AT  THE  SOUTH   POLE 

THE  DIVORCEE 
HELL'S  ANGELS 
OLD  ENGLISH 


Again  .  the  best 

USED  MAZDA  LAMPS  .  . . 

/\GAIN  in  I930,  MAZDA  lamps  played  an  important  part  in  the 
production  of  the  best  pictures  of  the  year. 

This  predominance  of  MAZDA  lamps  for  lighting  as  well  as  for  record- 
ing and  reproduction  of  sound  is  significant.  Of  the  ten  best  pictures, 
seven  used  MAZDA  lamps  exclusively,  while  two  of  the  others  used 
MAZDA  lamps  in  paTt. 

Every  type  of  General  Electric  MAZDA  lamp  used  in  motion  picture 
photography  is  the  result  of  millions  of  dollars  and  many  years  spent  in 
research  and  test  applications.  That  MAZDA  lamps  should  contribute  to 
the  outstanding  success  of  the  year's  best  pictures  is  not  only  logical — it  is 
inevitable  because  the  past  achievement,  present  acceptance  and  future 
promise  of  MAZDA  lamps  have  made  them  indispensable  to  the  cin- 
ematographer. 

The  continued  identification  of  G.  E.  MAZDA  lamps  with  the  best 
productions  is  assured  by  theiT  quality,  and  by  the  devotion  of  the  engi- 
neers who  constantly  improve  them  to  the  cause  of  ever  better  cine- 
matography. National  Lamp  Works  of  General  Electric  Company,  Nela 
Park,  Cleveland,  Ohio. 

Join  us  in  the  General  Electric  pTOgTam,  broadcast  every 
Saturday  evening  over  a   nation-wide   N.  B.  C.  network. 

ELECTRIC 


MAZDA®LAMPS 


April,  19  SI 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirteen 


1930  Equipment  Exports  Gain 


Estimated  Nearly  Twice  the  Value  of   1929 
the  Field  Including  Sound  and  Lighting 
Apparatus — Europe  Best  Customer 

By  N.  D.  GOLDEN 

Assistant   Chief  Motion   Picture   Division 


in 


PRELIMINARY  figures  of  the  Bu- 
reau of  Foreign  and  Domestic 
Commerce  show  that  during  1930 
$9,172,824  worth  of  American  motion 
picture  equipment  was  exported  to 
various  regions  of  the  world  as 
against  $1,442,803  worth  of  similar 
equipment  during  1929.  Unfortu- 
nately during  1929  sound  apparatus 
and  arc  lamps  were  not  listed  under 
export  classification.  It  is  safe,  how- 
ever, to  estimate  that  approximate 
three  and  a  half  million  dollars  worth 
of  this  equipment  was  exported  dur- 
ing 1929. 

Assuming  this  estimate  in  the  ab- 
sence of  accurate  figures  to  be  a  fair 
one  and  coupled  with  the  above  figure 
for  other  types  of  motion  picture 
equipment,  our  exports  for  1929  were 
approximately  $5,000,000.  Our  ex- 
ports of  motion  picture  equipment  for 
1930,  therefore,  show  an  increase  of 
approximately  $4,000,000  over  the 
preceding  year. 

A  total  of  2160  American  motion 
picture  projectors  of  the  35  mm.  type 
were  exported  to  all  foreign  markets 
during  1930  having  a  declared  value 
of  $599,046  as  compared  with  1989 
projectors   valued  at  $592,319   during 

1929.  Europe  was  our  best  customer, 
buying  1052  American  projectors  with 
a  declared  value  of  $231,601  as  com- 
pared with  837  projectors  valued  at 
$260,736   during   1929. 

Second  in  importance  is  the  Far 
East,  importing  628  American  ma- 
chines    valued     at     $145,445     during 

1930,  as  against  399  of  our  projectors 
with  a  value  of  $119,764  for  the  year 
1929.  Latin  America  is  our  third 
largest  purchaser,  importing  263  pro- 
jectors with  a  value  of  $127,387  dur- 
ing 1930,  as  compared  with  348  pro- 
jectors with  a  value  of  $114,092  dur- 
ing 1929. 

Canada  is  next,  importing  during 
1930  134  American  projectors  valued 
at  $40,132,  as  against  330  projectors 
valued  at  $74,475  during  1929. 

Near  East  and  Africa  is  the  last 
region  of  importance.  During  1930, 
83  projectors  with  a  value  of  $54,481 
were  exported  to  this  section  as  com- 
pared with  75  projectors  valued  at 
$23,252  during  1929.  The  following 
comparative  table  shows  the  exports 
of  American  motion  picture  projec- 
tors of  35  mm.  type  to  the  various 
regions  of  the  world,  together  with 
exports  to  our  first  ten  individual 
markets. 


Motion  Picture  Projectors  35  mm. 

1929 

Number    Value 

Europe 837     $260,736 

Far  East 399        119,764 

Latin    America 348        114,092 

Canada 330         74,475 

Near  East  and  Africa,     75         23,252 


Total 1989  $592,319 

1930 

Number    Value 

Europe 1052  $231,601 

Far  East 628  145,445 

Latin  America 263  127,387 

Canada 134  40,132 

Near   East   and   Africa     83  54,481 


Number  Value 
646     $144,063 
49,521 


Total   2160     $599,046 

1929 
Indiv.  Markets     Rank  Number  Value 
United  Kingdom.    1         552     $152,958 

Japan 3         130         22,876 

Canada    2         330  74,475 

France    5  80         38,368 

British   India 14  32  19,532 

China    9  57  9,392 

South  Africa 6  72         22,679 

Switzerland 19  22  4,588 

Spain    10  46         20,207 

Australia 7  66         29,492 

1930 
Indiv.  Markets  Rank 
United  Kingdom.    1 

Japan   2         339 

Canada    3  134  40,132 

France    4  126         23,276 

British   India 5  77  27,984 

China    6  77  15,466 

South   Africa 7  76         52,161 

Switzerland 8  73  15,238 

Spain    9  66         19,435 

Australia 10  55         14,126 

Projectors  Less  Than  35  mm. 
During  1930  there  was  a  drop  in 
our  exports  of  16  mm.  projectors 
amounting  to  677  projectors.  During 
1930  we  exported  to  all  markets  of 
the  world  a  total  of  1634  substandard 
projectors  valued  at  $148,266,  as 
against  2311  American  projectors 
with  a  value  of  $212,947  during  1929. 
The  following  table  shows  our  ex- 
ports of  substandard  projectors  both 
by  region  and  by  leading  individual 
markets : 

1929 

Number    Value 

Canada    214       $24,185 

Far  East 1263        103,952 

Europe 689  65,685 

Latin    America 128         16,682 

Near  East  and  Africa.      17  2,443 


1930 

Number  Value 

Canada    580  $43,769 

Far  East 442  37,458 

Europe   375  36,627 

Latin   America 223  28,019 

Near   East   and   Africa     14  2,393 


Total . 


.1634 

$148,266 

Number  Value 

214 

$24,185 

883 

70,268 

228 

14,167 

25 

3,283 

70 

9,816 

88 

11,795 

15 

2,804 

24 

1,525 

49 

3,686 

30 

4,322 

1929 
Indiv.  Markets     Rank 

Canada    3 

Japan   1 

United  Kingdom.   2 

Argentina    14 

Switzerland 7 

China    6 

Chile 20 

Sweden    16 

Spain   9 

France    11 

1930 
Indiv.  Markets     Rank  Number  Value 

Canada    1  580       $43,769 

Japan   2  297         24,684 

United   Kingdom.    3  133  6,934 

Argentina    4  75  7,917 

Switzerland 5  61  8,674 

China    6  58  3,717 

Chile 7  45  9,028 

Sweden    8  43  5,844 

Spain    9  41  1,798 

France   10  28  4,204 

Sound  Apparatus  and  Parts 
The  year  1930  is  the  first  in  which 
a  separate  classification  for  sound  ap- 
paratus has  been  made.  During  1930 
a  total  of  $7,736,059  worth  of  sound 
equipment  and  parts  were  exported 
to  the  geographical  regions  as  indi- 
cated in  the  following  table: 

1930 

Europe    $4,522,354 

Far  East 1,378,507 

Latin   America 1,196,278 

Canada    404,044 

.Near  East  and  Africa 234,896 


Total 2311     $212,947 


Total $7,736,059 

Of  the  leading  individual  markets, 
United  Kingdom  and  France  are  our 
leading  markets.  The  following  table 
shows  our  exports  of  sound  appara- 
tus to  the  first  ten  leading  markets: 

Leading  Individual  Markets,  1930 

United  Kingdom $2,390,456 

France    1,032,860 

Australia    . 452,952 

Canada   404,044 

Italy    344,928 

Philippine    Islands 197,226 

New  Zealand 194,102 

South  Africa 192,609 

Brazil    181,752 

Spain   179,174 

Other  countries  which  have  pur- 
chased over  $100,000  worth  of  Amer- 
ican sound  apparatus  are  as  follows: 
Chile,  Mexico,  British  Malaya,  British 
India   and  Belgium. 

The  year  1930  is  also  the  first  in 
which  arc  lamps  for  motion  picture 
projectors  are  classified.  During  this 
period  a  total  of  967  lamps  with  a 
value  of  $121,645  have  been  exported. 


Fourteen 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  19. j  l 


Volume  of  exports  to  the  leading-  mar- 
kets and  geographical  regions  is  con- 
tained in  the  following  table: 

Arc  Lamps,   1930 

Number  Value 

Europe   671  $77,172 

Canada 115  22,204 

Far  East 89  14,228 

Latin   America 82  7,610 

Near  East  Africa 10  431 

Total 967     $121,645 

Leading  Individual  Markets,  1930 

Number    Value 

France    361        $10,105 

United    Kingdom 303         66,544 

Canada    115         22,204 

New  Zealand 42  6,714 

Panama    24  765 

China    15  2,260 

Mexico    15  2,381 

Japan   12  1,107 

Australia   11  1,758 

Cuba 11  691 

There  is  a  slight  decline  in  the 
number  of  35  mm.  cameras  exported 
during  1930  as  compared  with  1929. 
During  this  year  946  cameras  were 
exported  to  all  countries  as  com- 
pared with  1038  during  1929.  While 
the  quantity  of  our  camera  exports 
has  dropped  during  1930  the  value 
has  increased.  Value  of  cameras  ex- 
ported during  1930  amounted  to  $405,- 
906,  as  compared  with  $364,544  dur- 
ing- the  year  1929. 

The  following  comparative  table 
shows  the  exports  of  American  cam- 
eras of  35  mm.  type  to  the  various 
regions  of  the  world  together  with  ex- 
ports to  our  first  ten  individual  mar- 
kets: 

Motion  Picture  Cameras,  35   mm. 

Number  Value  Number  Value 
Europe  ...  512  $169,897  537  $214,808 
Far  East..  262  104,479  261  101,505 
Latin 

America..  162      53,505      80      57,571 
Near  East 

and  Africa    26        7,138      42      16,924 
Canada    ...     76      29,525      26      15,098 

Total 1038  $364,544    946  $405,906 

Leading  Individual  Markets,  1930 

Rank  Number  Value 
United  Kingdom.    1  325       $78,369 

Japan   4  82  22,962 

Switzerland 14  15  2,686 

France    2  86  41,509 

British   India 11  23  15,617 

Italy    24  5  3,862 

South   Africa 12  20  2,678 

Germany    7  37  26,840 

Canada 5  76         29,525 

Spain     21  6  2,780 

Rank  Number  Value 
United   Kingdom.    1  193       $71,478 

Japan   2         129         39,165 

Switzerland 3  76  11,624 

France    4  69  48,202 

British   India 5  56  27,306 

Italy    6  51  22,364 

South   Africa 7  36  14,983 

Germany    8  31  16,464 

Canada 9  26         15,098 

Spain     10  26  17,157 

Exports  of  motion  picture  cameras 
less  than  35  mm.  have  fallen  off  near- 
ly 46  per  cent  during  1930.  The  table 
below  gives  a  comparative  picture  of 
our  exports  of  this  type  camera  for 
the  year  1929  and  1930: 


Cameras   Less  Than   35  mm. 

1929 

Number    Value 

Far  East 1606  $126,250 

Europe   802  75,317 

Canada 361  26,021 

Latin   America 262  41,556 

Near  East  and  Africa,     51  3,849 

Total 3082  $272,993 

1930 

Number    Value 

Far  East 640  $62,131 

Europe   447  45,952 

Canada 386  23,103 

Latin   America 193  28,938 

Near  East  and  Africa,     11  1,778 

Total 1677     $161,902 


Alex  G.  Penrod  as  He 

Was  Nine  Years  Ago 


On  the  page  opposite  are  repro- 
ductions of  snapshots  of  the  late 
Alex  G.  Penrod,  6Uh,  lost  in  the  de- 
struction of  the  sealer  Viking  off 
Newfoundland  March  15.  these 
pictures  were  taken  at  the  time 
"Down  to  the  Sea  in  Ships"  was 
photographed  in  southern  waters 
in  1922  and  are  from  the  records  of 
Maury  Kains,  659,  who  was  an  as- 
sociate of  the  late  cameraman  on 
that  production.. 

In  the  center  Mr.  Penrod  is 
shown  adjusting  his  hat.  Next  to 
him  is  Elmer  Clifton,  director,  and 
to  the  right  Mr.  Kains  In  the  up- 
per left  the  cameraman  is  shown 
at  the  sewing  machine  making  cos- 
tu7nes.  In  the  opposite  corner, 
photographed  as  the  vessel  is  enter- 
ing Santo  Domingo  harbor,  from 
left  to  right  are  Elmer  Clifton, 
Raymond  McKee  and  Mr.  Penrod. 
In  the  lower  left  the  cameraman 
is  shown  at  the  right  of  the  cam- 
era. In  the  center  examining  a 
strip  of  still  negative  are  from  left 
to  right  Mr.  Penrod,  McKee,  Paul 
Allen,  C>59,  and  Clifton.  On  the 
right  the  cameraman  shoots  down 
on  a  'long side  scene. 


Leading  Individual  Markets 

1929 

Rank  Number  Value 

Japan   2  577  $55,410 

Canada 3  361  26,021 

United  Kingdom.    4  284  11,544 

Switzerland 5  273  28,941 

Argentina    7  93  21,834 

Netherlands    12  34  3,800 

China    6  119  10,115 

France    15  31  4,452 

Mexico    13  34  2,485 

Sweden 18  26  6,650 

1930 

Rank  Number  Value 

Japan    1  502  $44,890 

Canada 2  386  23,103 

United  Kingdom.    3  204  10,426 

Switzerland 4  103  10,954 

Argentina    5  86  17,194 

Netherlands    6  47  9,392 

China    7  45  5,349 

France    8  35  4,813 

Mexico    9  27  2,894 

Sweden 10  17  5,445 


To  Penrod:      A   Tribute 

THE  loss  of  Alex  G.  Penrod,  Lo- 
cal 644,  in  the  sinking  of  the 
sealer  Viking  in  Newfoundland 
waters  March  15  was  a  stunning  blow 
to  the  friends  of  this  beloved  brother. 
The  cameraman  was  a  member  of  the 
expedition  headed  by  Varick  Frissell, 
who  also  was  lost  in  the  disaster.  It 
is  the  opinion  of  the  captain  of  the 
vessel  that  the  explosion  occurred  dur- 
ing the  taking  out  of  powder  for  use 
in  smashing  ice  the  day  following. 

The  magazine  adjoined  the  quarters 
of  the  officers  of  the  craft  and  of  the 
members  of  the  motion  picture  expe- 
dition. The  explosion  destroyed  the 
entire  stern  of  the  vessel,  which  sank 
shortly  following. 

It  was  my  good  fortune  to  know 
Brother  Penrod  intimately.  I  worked 
for  him  in  1921  on  "Silas  Marner" 
and  again  in  1922  on  "Down  to  the 
Sea  in  Ships."  I  have  never  worked 
with  a  finer  man.  He  was  a  hard 
worker,  conscientious,  Godfearing — a 
good  husband  and  an  affectionate 
father. 

I  recall  our  arrival  in  Santo  Do- 
mingo, where  Brother  Penrod  received 
a  wireless  from  his  wife  telling  of  the 
passing  of  their  baby.  His  conduct 
following  this  heartbreaking  news  be- 
spoke the  man.  He  went  right  ahead 
with  his  work  and  turned  out  a  most 
successful  production. 

To  Mrs.  Penrod,  one  of  the  best  and 
bravest,  the  sincere  sympathies  of  a 
host  of  friends  will   be  extended. 

M    K. 


German  Invents  Superior 

Type  of  Photoelectric  Cell 

A  GERMAN  trade  paper  reprints 
the  report  of  a  lay  organ  deal- 
ing with  the  work  of  Dr. 
Bruno  Lange,  assistant  at  the  Insti- 
tute for  Silicate  Research  of  the 
Kaiser  Wilhelm  Gesellschaft,  Berlin, 
in  connection  with  the  transformation 
of  light  energy  into  electrical  current. 

Dr.  Lange  is  credited  with  the  in- 
vention of  a  photoelectric  cell,  which 
is  supposed  to  be  superior  to  the  vari- 
eties now  in  use.  It  is  said  to  gen- 
erate a  stronger  current,  though  the 
currents  that  it  has  so  far  been  pos- 
sible to  obtain  were  not  sufficiently 
strong  to  permit  the  use  of  the  cell  in 
the  motion  picture  industry  without 
the  addition  of  amplifiers. 

According  to  a  reported  statement 
of  the  inventor,  the  use  of  the  cell 
would  reduce  amplification  by  one,  or 
possibly  two,  stages,  but  it  is  insisted 
that  there  can  be  no  question  of  using 
the  cell  altogether  without  amplifiers. 


British  Censor  141   Films 

During  the  month  of  December, 
1930,  there  were  submitted  to  and 
passed  by  the  British  Board  of  Cen- 
sors a  total  of  141  films — 44  of  which 
were  American,  58  British,  and  38 
from  other  countries;  119  were  syn- 
chronized and  22  silent;  82  were 
shorts  and  59  features,  of  the  former 
of  which  72  were  short  sound  films 
and  of  the  latter  47  were  feature 
sound  films,  according  to  Trade  Com- 
missioner Martin  H.  Kennedy,  Lon- 
don,  in   a   report   to   the   Department. 


April,  19.11 


The    INTERNATIONAL     PHOTOGRAPHER 


Fifteen 


Sixteen 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  1931 


era 

IRA  HOKE 


There  and  Back 

"Shack"  Shackelford  tells  about  a 
Chinese  prisoner  who  was  being  led 
to  execution  by  a  squad  of  Mongolian 
soldiers.  The  day  was  wintry  and  a 
chilling  rain  pelted  down  heartlessly. 

"What  wretches  you  Mongols  are," 
grumbled  the  doomed  one,  "to  march 
me  through  a  rain  like  this!" 

"How  about  us?"  retorted  one  of 
the  soldiers.  "We  have  to  march 
back." 

Oh!  My  Dear! 

Bob  Bronner— That  girl  on  the  Fol- 
lies set  shows  distinction  in  her 
clothes. 

Bob  Tobey — You  mean  distinctly, 
don't  you? 

But  It  Helps 

The  Judge  had  a  burglar  on  the 
spot. 

"I  see  from  the  police  report,"  said 
the  judge,  "that  besides  the  contents  of 
your  victim's  purse,  which  amounted 
to  some  $300,  you  stole  his  watch  and 
chain,   his   DuPont   pencil,    his    East- 


man monotone  filter,  his  fountain  pen, 
and   his   tripod   cranks." 

"Yes,  your  Honor,"  replied  the 
prisoner,  "I  remembered  just  in  time 
that  money  alone  doesn't  bring  happi- 
ness." 

Reload — Quick  ! 

Harry  Gant,  well  known  producer 
of  negro  talkies,  tells  this  one  on  a 
Mobile  mammy  and  her  "wuthless" 
spouse. 

Seems  Rastus  had  been  sentenced 
to  30  days  on  the  chain  gang  for 
stealing  a  ham.  Only  a  week  of  this 
time  had  elapsed  when  Mammy  ap- 
peared before  the  judge  requesting 
that  Rastus  be  pardoned  and  returned 
home. 

"Why,  said  the  judge,  "do  you  think 
he   has   repented    so   soon,    Mammy?" 

"No  sah,  jedge,"  said  she,  "but  de 
truth   is   we    is   plumb   out   of   ham." 

Penny  for  Her  Art 

"Yes,"  said  the  charming  actress, 
"I  have  had  letters  of  applause  from 
England,    Ireland,    and    Wales,   and," 


Ilzari  Kardi  Breaks  Out  Again 

Hon.  H'Vv'aid  Hurd  &  Brother,  Business  Representative,  Location  659. 
Dear  Mr.  &  Sir: 

Excuse  it  please  another  letter  from  Japanese  asst.  cameraman. 

The  ether  day  it  made  occurrence  to  my  memory  what  tremulous 
savings  to  the  m.p.  industry  would  be  enjoyed  if  cameras  were  only 
ground  out  silently.  Hon.  sounding  artist  on  our  company  requires  me 
to  make  a  covering  for  my  camera  consisting  of  the  following  articles: 

1.  Very  horse-smelling  blanket  with  hairs  to  get  in  film  move- 

ment. 

2.  One  patchworking  quilt  with  inside  cotton  worked  into  large 

lumps. 

3.  One  ruberized  sheet  for  babies. 

4.  One  large  pad  for  putting  under  cheap  rugs  to  make  them 

feel  high  class. 

After  placing  these  4  articles  on  top  of  photographic  camera,  my 
Hon.  cameraman  complain  the  finder  has  misplacement  of  imagination 
and  with  aid  of  stepping  ladder  I  must  remove  above  listed  4  articles 
of  silence,  make  checkroom  of  finder,  then  replace  operation  as  before 
described  in  par.  one.  As  this  wastes  much  time  and  expenses  for  Hon. 
producer,  as  well  as  complete  exhaustion  to  nerves  of  cameraman  I  wish 
to  present  to  you  the  following  saturated  solution. 

My  cousin,  Shinmatsu  Moto,  enjoys  ice  cube  making  electric  refrig- 
erator for  putting  in  ginger  ale  etc.  Mostly  etc.  This  device  inwardly 
contains  machinery  more  intricate  than  camera  and  motor,  yet  it  makes 
complete  operation  so  noisless  that  never  is  my  cousin's  cat,  Kobi,  awak- 
ened from  nap-sleeping  on  top  of  machine  cabinet  in  smoked  herring 
box  with  red  letters. 

The  Academy  of  Motion  Picture  Art  and  Silence  asks  in  question 
mark  to  camera  profession  what  to  do  with  blimps  and  horse-smelling 
rugs.  I  have  made  very  high  power  solution  of  this  query.  Take  all  such 
to  incenerator  at  back  end  of  lot.  Next  take  insides  from  ice  cube  re- 
frigerators and  construct  into  cameras  with  finders  close  to  lens  which 
make  no  noise  to  corrupt  mortality  of  sound  artists. 

This  will  make  camera  department  enjoy  very  long  life  of  happiness. 
Hoping  you  are  same, 

Fraternally  yours, 

IKARI  KARDI. 


with  a  twinkle  in  her  eyes,  "postcards 
from  Scotland." 

Marital  Ties  in   the  Jungle 

Clyde  DeVinna  tells  about  a  hen- 
pecked husband  in  the  African  jungle 
who  was  accosted  on  the  village  clear- 
ing by  a  breathless  savage  who 
brought  tidings  of  importance.  Ac- 
cording to  the  translator  their  hurried 
conversation  was  something  like  this: 

Breathless  native — Quick,  Moto,  a 
tiger  has  just  run  into  the  house 
where  your  wife  is. 

The  Henpecked  villager — Well,  he'll 
just  have  to  get  out  the  best  way  he 
can. 

The  Works 

First  scenario  writer — Did  the  sur- 
geon remove  the  apppendix? 

Second  scribe — Feels  to  me  like  he 
removed  my  whole  table  of  contents. 

Yes,  Mr.   Webster 

Down  in  the  DuChrome  Film  Sys- 
tem office  a  neat  little  sign  settles  once 
and  for  all  the  definition  of  a  "spe- 
cialist."   It  reads: 

A  specialist  is  one  who  learns  more 
and  more  about  less  and  less  until 
eventually  he  knows  everything  about 
nothing. 

l\o  Such  Luck 

One  of  Friend  Baker's  young  hope- 
fuls had  canvassed  nearly  all  the  drug 
stores  in  Beverly  Hills  before  a  pre- 
scription clerk  'phoned  the  lad's 
mother  and  told  her  this  one.  Seems 
the  youngster  approached  the  drug- 
gist thus: 

Baker  Jr. — Are  you  out  of  stock  of 
caster  oil? 

Druggist — Why,  no,  buddy. 

Baker  Jr. — Well,  I've  been  sent  to 
get  some,  and  I  jolly  well  mean  to  find 
a  druggist  who  is. 

Oh!    That  Shape 

Cutter  Girl — What  is  the  shape  of  a 
kiss? 

Cameraman — Well,  give  me  one, 
sis,  and  I'll  call  it  square. 

Pocahontas  Done  This 

Steve  Newman  tells  this  one  of  a 
large  meeting  of  a  plumbers'  union 
some  years  ago.  During  the  meeting 
a  messenger  rushed  to  the  platform 
and  after  seeking  the  business  agent's 
permission  called  out: 

"Is  Mr.  Smith  in  the  hall?  I  am  in- 
formed that  his  house  is  on  fire." 

Fifty  gentlemen  leaped  to  their  feet. 

"It  is  the  house  of  Mr.  John  Smith," 
added  the  informant. 

"Thank  heaven!"  exclaimed  one  of 
them,  resuming  his  seat. 

Oh!  Gee  Whiz! 

Henry — Gosh!    Give  a  look  at  her. 
Bob— Her  what? 


^I'Q,. 


Qream  oth Stills 


t**"^ 


Z?ert  Anderson  catches  this  spirited  combination  of  horse  and  rider  just  at  the  crest  of  the  rise — in  the  flash 
that  precedes  resumption  of  all  fours  by  the  graceful  animal 


Here  is  a  bit  of  palm 
and  cloud  and  roof 
of  thatch  and  away 
in  the  distance  a 
glimpse  of 
The  South  Seas 
as  seen  by 
Bob  Roberts 
in  Tahiti 


Speaking   for  itself, 

Hidden  Lake, 

Conjilon,  New   Mexico, 

is  here  revealed 

through  the  medium 

of  the  camera  of 

Edward  H.  Kemp 


.^'d,. 


@ream  oth Stills 


cfWo*. 


W.  J.  Van  Rossem 
catches  this  beam 
of  sunlight  as  it 
strikes  Old  Ocean 
along  the  shores 
of  Malibu,  north 
of  Santa  Monica, 
in   California 


More  than  a 
hundred  miles  to 
the  south  Robert 
Tobey  near  La  Jolla 
patiently  waits 
for  a  shot 
at  the  departing 


Qream  oth Stills 


Fred  Arc/ier  gives  us  aw  insight  into  life  along  the  placid  canal  passing   through    Clamecy,  France 


April,  1931  The    INTERNATIONAL    PHOTOGRAPHER  Seventeen 


TWICE  AS  FAST! 

JuASTMAN  Super-Sensitive  Pan- 
chromatic Negative,  Type  2,  has  at 
least  double  the  speed  of  ordinary 
negative,  under  artificial  light.  It 
has  a  finer  grain,  and  very  decided 
developing  latitude.  In  addition  it 
retains  all  the  advantages  of  regu- 
lar Eastman  Panchromatic  Negative 
. . .  and  the  price  remains  the  same. 
Use  this  remarkable  new  film  in 
your  next  picture.  Eastman  Kodak 
Company,  Rochester,  New  York. 
(J.  E.  Brulatour,  Inc.,  Distributors, 
New  York,  Chicago,  Hollywood.) 

Eastman  Super-Sensitive 

Panchromatic  Negative,  Type  2 


Eight i  <  a 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  I9.;i 


Over  the  Grapevine 

JACK  BARNETT  and  a  suburban 
blonde  are  on  fire  .  .  .  Brother 
Martin  is  that  way  too  .  .  .  News- 
reelers  all  agog  over  proposed  agree- 
ment; it's  up  to  Pat  Casey  now  .  .  . 
Ralph  Lembeck  producing  pretty  noth- 
ings from  a  new  recorder  .  .  .  Bob 
Duggan  has  been  throwing  2,000  amps 
around  Baltimore  recently  for  good 
ol'  Western  Electric  .  .  .  Prexy  David 
showed  the  projection  brethren  how 
they  make  'em  at  the  recent  operators 
ball  ...  So  did  Jimmy  Creighton  .  .  . 
Gene  Cour  has  phffft  from  Pathe  .  .  . 
Likewise  Fred  Geise,  Johnny  Zimmer- 
man and  Walter  Hotz  .  .  .  Hotz  is 
snaring  the  elusive  striations  for  Bur- 
ton Holmes  .  .  .  Charley  Ford  and  his 
Chi  Daily  News  ramblers  just  com- 
pleted 'nother  lip  flicker  for  Bill 
Thompson — Charley  hasn't  decided 
whether  it'll  be  French  Lick  or  Hot 
Springs  this  time  .  .  .  Big  stuff  brew- 
ing at  Spoor-Ahbe  emporium;  here's 
hopin';    they    deserve    it    .    .    .    Ralph 


Bv  NORMAN  W.  ALLEY 


Editorial  Note 

WITH  this  makeup  the  666  sec- 
tion of  International  Pho- 
tographer has  a  new  com- 
piler. We  accepted  the  post  only 
•after  exhausting  every  effort  to 
keep  Brother  Birch  on  the  desk. 

Harry  has  been  devoting  con- 
siderable time  to  this  page  in  the 
past  and  has  asked  to  be  relieved 
because  of  pressing  business  mat- 
ters. We  hope  that  we  will  have 
the  same  good  co-operation  which 
Harry  enjoyed  and  that  you  fellows 
in  the  field  will  help  us  carry  on  by 
sending  any  news  or  notes  of  local 
interest  before  the  10th  of  each 
month.  N.W.A. 


Biddy  tuning  up  his  eight  cyl  DeBrie 
prepping  for  the  500-mile  snort  .  .  . 
Red  Felbinger  and  his  flame  are  cry- 


Harry  Vallejo,  the  photographer,  has  withdrawn  from  his  archives  thin  first 
picture  of  the  Keystone  Cops,  the  leader  of  a  long  line  of  laughmakers.  The 
subject  tens  produced  late  in  1912.  The  personnel  of  the  "force"  would  indi- 
cate Sennett  was  a  good  picker  of  "comers."     But  rending  from  left  to  right: 

Robert  Z.  Leonard,  Mack  Sennett,  Bill  Haber,  Henry  (Pathe)  Lehrmann,  

Mc Alley,  Chet  Franklin,  Ford  Sterling,  Fred  Mace,  Arthur  Tavaras. 


ing  it  out  .  .  .  Bull  Phillips  has  re- 
vamped the  old  stand;  quite  an  im- 
provement .  .  .  Bob  Travenier  seems 
to  be  dunking  plenty  of  film  through 
his  north  side  lab  .  .  .  Way  back  when 
Bull  Phillips  and  Charley  David  burnt 
the  set  after  one  of  those  not  so  40 
pichurs;  'tis  claimed  chaise  lounge, 
bed  room  fixtures  and  all  went  sky- 
ward .  .  .  Eddie  Morrison  took  a  lot 
of  excess  baggage  to  Detroit  one 
stormy  night  .  .  .  Felbinger  fought  the 
German  building  fire  out  in  Jackson 
Park  .  .  .  .  Them  were  the  good  ol' 
days! 


SIX-SIXTY-SIX 


Talkies  and  Politics 

Talking  pictures  used  by  Mayor 
Thompson  in  his  battle  for  re-election 
prove  the  value  of  this  medium  in  the 
political   field. 

Thompson  won  his  primary  fight 
against  the  most  colorful  opponent 
with  which  he  has  had  to  contend.  He 
did  so  by  making  the  widest  use  pos- 
sible of  talking  films,  giving  his  plat- 
form views  to  the  Chicago  public  from 
almost  every  street  corner.  It  was  an 
expensive  program,  but  well  worth 
the  experiment.  The  Chicago  Daily 
News  in  co-operation  with  Avery 
Chereton  and  his  Vita-Glow  record- 
ing system  produced  the  film  which 
consisted  of  three  reels,  and  did  a 
very  creditable  job  of  it.  Tommy  Mal- 
loy,  business  manager  of  Operators 
Local  110,  arranged  for  the  portable 
projection  throughout  the  city  and  it 
is  worthy  of  note  that  the  public  re- 
action toward  "Big  Bill"  was  aided 
a  great  deal  by  his  winning  screen 
personality. 

SIX-SIXTY-SIX 

Folks  We'd  Like  to  Hear  From 

Walter  W.  Bell 

Pete  Shamray 

Gus  Petersen 

Al  Wetzel 

George    Gibson 

Joe  Johnson 

And  some  more  of  you  bonus  spend- 
ers who  fought  the  battle  of  Paris 
back  in  '18. 


5IX-SIXTY- 


The  Sassiety  Reporter 

We  are  proud  to  announce  that  our 
Sassiety  reporter  has  assured  us  he 
will  continue  to  hammer  out  his  col- 
yum,  and  we  have,  in  turn,  assured 
his  red-hedded  highness  that  as  in 
the  past  there  will  be  no  editorial  re- 
strictions to  worry  about. 


April,  19.11 


The    INTERNATIONAL    PHOTOGRAPHER 


Nineteen 


In  Focus — In  Spots! 

By   the    Sassiety    Reporter 

WELL,  old  Harry  Birch,  who  was 
the  head  man  of  this  here  page, 
has  went  and  retired  from  pur- 
suing his  journalistic  endeavor  to  en- 
lighten youse  birds  on  what's  what. 
So  I  guess  I'm  the  only  one  of  the 
old  school  of  fearless  exposin'  what's 
left  on  the  staff  of  the  PAge. 

Mr.  Norman  Alley  filed  the  neatest 
application  for  the  job  of  about  sixty 
coorrespondent  school  journalists,  so 
he  fell  into  Harry's  old  job  of  Page 
Engineer.  As  the  said  new  head  man 
is  one  of  them  modest  birds  about 
giving  the  up  and  up  low-down  of 
his  abilities  maybe  this  here  depart- 
ment ought  to  give  a  analize  of  the 
new  editor  and  maybe  how  he  ought 
to  edit  this  page. 

Mr.  Alley  (I  got  to  call  him  Mr. 
because  after  all  he's  the  bird  what'll 
pass  on  my  stuff)  should  open  a  sports 
department  on  our  PAGe  because  he's 
one  of  these  expert  dopesters  what 
no's  what  nag  is  comin'  through  in 
the  fifth  race. 

He  is  a  real  expert  because  no 
horse  he  has  picked  has  ever  been 
found  after  the  race  was  over.  His 
columns  on  golf  should  be  a  big  help 
as  Alley  has  killed  more  snakes  on 
middle  western  fairways  than  any  you 
birds.  He  is  also  gifted  in  dealing 
faro,  blackjack  and  always  has  a 
ace  or  two  extra  to  go  with  his  poker 
face. 

As  to  his  general  editorial  ability 
this  ought  to  be  a  picture  PAGE  now, 
as  he  is  a  good  photog  when  it  comes 
to  writin'  news.  Regardless  of  the 
new  scribe's  abilities  and  policies  I 
assure  youse  there  ain't  no  change 
going  to  be  made  in  this  column's  fear- 
less honest  time  worn  yarns. 

Well,  good  luck,  Alley,  on  the  new 
job  of  slinging  the  ink — but  keep  it 
clean. 

SIX-SIXTY-SIX 

About   That  Newsreel 

I'm  sittin  here  in  a  one-movie  town 
near  Detroit  writin'  this  and  it's  a 
heluva  job  tryin'  to  be  funny  about 
youse  birds  seein'  as  how  I  just  blew 
back  from  the  movie  Emporium  and 
the  pitcher  was  "East  Lynne." 

It  wuz  allright,  but  they  didn't  show 
no  newsreel,  so  I  ups  and  axe  the 
bird  what  runs  the  joint — "H  o  w 
come?" 

So  he  says,  well  he  had  one  of  the 
latest  issues  up  in  the  booth,  but 
seein'  as  how  there  wasn't  a  story 
on  prohibition  in  that  reel  maybe  the 
customers  wouldn't  ketch  on  it  was 
a  newsreel  if  he  put  it  on. 

SIX-SIXTY-SIX 

Handing  Jones  a  Medal 

The  other  night  the  A.A.U.  hands 
Bobby  Jones  a  medal  for  bein'  the 
best  sport  of  1930  (which  didn't  in- 
clude axing  newsreel  men  to  shut  the 
camera  off  while  he  was  putting).  As 
it  happened  in  Chicago  most  of  the 
666  historians  ankled  the  equipment 
up  and  got  there  before  the  groceries 
were  served. 

Well,  quite  a  few  familiar  faces 
were  at  the  press  (deadbeat)  table. 
President  David  was  surrounded  by 
Norman    Alley,    Harry    Neems,    Red 


So  They  Tell  Me 

Stocks  may  be  bouncing  up  and 
down  on  the  big  board  in  Wall 
street,  but  they  are  going  definitely 
upward  with  the  camera  twisters 
on  May  1  when  the  initial  fee 
shoots  to  $1,000. 

It's  a  bull  market  from  now  on, 
and  the  wise  boys  will  reap.  Every 
meeting  of  the  six-sixty-sixers 
seems  to  bring  out  an  increase  in 
attendance,  which  is  a  healthy  con- 
dition and  shows  that  the  members 
are  becoming  more  and  more  inter- 
ested in  union  matters.     N.  W.  A. 


Tonny  Caputo  and  his  sound  man 
Saunders  set  their  truck  in  front  of 
Mr.  Capone's  private  squad  car,  and 
Red  Felbinger  put  his  baby  moving 
van  behind  it  in  the  hopes  Scarface 
Al  would  "say  a  few  words  for  the 
talkies,"  but  the  way  that  guy  breezed 
out  of  police  headquarters  and  into  his 
car  is  nobody's  business. 

After  counting  up  the  footage  the 
boys  got  on  Al's  exit  from  the  bastile 
building,  Pres.  David  suggested  he 
would  use  a  slow  motion  camera  to  get 
some  decent  footage  on  our  leading 
citizen  the  next  time  he  covered  him. 


SIX-SIXTY-SIX 


Felbinger,  W.  Robertson  for  the  feed. 
Later  the  gang  sizzled  Bobby  Jones 
under  the  "inkies,"  proving  he's  a 
right  good  sport. 


SIX-SIXTY-SIX 


Capone  Not  So  Sloiv 

Mr.  Alphonse  Capone,  who  rates  as 
Citizen  No.  1,  showed  up  in  the  Windy 
Burg  the  other  day.  Well,  it's  always 
the  custom  of  the  666  newsreelers  to 
cover  the  "big  shots"  when  they  ap- 
pear, so  everybody  turned  out  includ- 
ing Charlie  Ford,  prima  donna  of  the 
Daily  News  Screen  Reel.  Charlie 
talked  a  heavy  Eymo.  Norman  Alley, 
impressario  of  the  local  Fox  office, 
skipped  breakfast  to  focus  Charlie 
Geis's  groan  box,  because  Charlie  had 
lumbago  or  sumpin  in  his  neck  and 
couldn't  get  the  old  eye  down  to  the 
finder. 


Unreconstructed  Rebel 

I  got  a  letter  from  George  Gibson, 
the  hot  air  expert  on  celluloid,  tellin' 
me  the  company  what  furnishes  his 
pay  check  has  invented  a  new  raw 
stock  that's  so  fast  you  gotta  hold 
your  hand  over  the  lense  to  prevent 
over-exposure,  and  here  in  Chicago 
we  got  Charlie  Ford  and  Charlie 
David  braggin  how  they  makes  scenes 
at  the  Stadium  with  this  same  light- 
nin'  film. 

Yours  trooly  wants  to  issue  a  state- 
ment that  he  is  still  battin'  out  movies 
on  good  ole  regular  stock  which  gives 
a  guy  a  break  to  smoke  a  cigarette 
while  loading  magazines  in  a  impro- 
vised darkroom  in  a  country  hotel 
bathroom. 

Just  a  old  fashioned  boy  of  the  ole 
school  still  making  pictures.  Maybe 
I  stop  down  wide  open,  but  they  still 
use  'em  now  and  then. 


Audio-Camex  portable  equipment  in  the  studio  of  Smith  and  Aller,  where  a 
group  of  cameramen  made  tests  with  the  Eastman  super  sensitive  panchroma- 
tic negative  and  the  DuPont  special  panchromatic  negative,  each  lighting  a  set 
according  to  his  own  ideas  and  using  each  film.  Max  Firestein  of  the  Max 
Factor  office  conducted  the  make-up  for  the  tests.  In  the  picture  left  to  right 
are  Cliff  Thomas  and  Art  Reeves,  who  compose  the  Hollywood  Camera  Ex- 
change; B.  J.  Kroger,  Harry  Anderson;  seated,  Mickey  Whalen,  Jackson  Rose. 
Other  cameramen  who  attended  and  conducted  tests  were  Alvin  Wyckoff,  Dev 
Jennings,  Bennie  Kline,  Ira  Morgan,  Ross  Fischer,  Al  Gilks  and  Guy  Neivhard. 


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Twenty 


T  h 


INTERNATIONAL    PHOTOGRAPHER 


April,   19S1 


Up  to  the  Mountains  and 


IF  by  any  chance  you  are  among 
those  who  rest  under  the  belief 
that  the  big  breaks  in  Hollywood 
go  only  to  some  particularly  fortunate 
maiden  fair  or  even  to  some  youth 
with  waving  locks  you  will  be  in- 
formed to  the  contrary  by  Clifton  L. 
Kling,  the  young  man  who  photo- 
graphed the  widely  varying  and  strik- 
ing examples  of  camera  art  shown  on 
these  two  pages. 

For  Kling  is  very  certain  such  a 
thing  as  a  break  most  certainly  came 
his  path  five  years  ago  when  without 
previous  experience  in  a  camera  way 
with  other  than  the  motion  type  he 
was  pitchforked  into  the  still  camera 
department  of  one  of  the  major  stu- 
dios. Incidentally  from  that  day  to 
this   he   has   never   lost   a   dav — which 


in  itself  is  an  achievement  as  Holly- 
wood studio  records  go. 

Prior  to  1926  Kling  had  worked  on 
straight  motion  picture  cameras.  One 
of  his  last  engagements  with  this  type 
of  instrument  was  with  the  late  Larry 
Semon. 

It  was  while  with  the  comedian  he 
received  a  mystifying  call  from  a 
large  studio,  mystifying  in  so  far  as 
it  indicated  it  was  for  still  work,  a  de- 
partment with  which  he  was  practi- 
cally unacquainted.  Deciding  to  find 
out  what  it  was  all  about  a  call  at 
the  studio  brought  word  the  party 
sending  for  him  was  not  at  the  mo- 
ment in  but  his  secretary  said  it  was 
desired  for  him  to  go  right  to  work 
and  satisfactory  compensation  would 
be  adjusted. 


April,   I"-! I 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-one 


wn  to  the  Sea  with  Kling 


ng 


The  photographer  does  not  care  to 
go  into  details  in  outlining  the  embar- 
rassments of  the  first  few  days,  but 
by  adhering  to  a  policy  of  a  tight  lip 
(Continued  on  Page  24) 

The  Pictures: 
Upper  row,  from  left  to  right  — 
This  is  not  one  of  those  set-back  sky- 
scraping  office  buildings  but  an  excel- 
lent view  of  Morro  Fork  Rock,  Bryce 
Canyon,  Utah.  No-.  2,  Pine  Ledge, 
Cedar  Breaks,  Utah.  No.  3,  Arch 
Rock,  Bryce  Canyon.  No.  4,  Castle 
Rocks,  Bryce  Canyon.  One  need  not 
be  a  geologist  to  enjoy  contemplation 
of  this  rarely  beautiful  photograph 
of  a  bit  of  mother  earth  that  needs 
have  no  hesitation  in  revealing  evi- 
dences of  its  age,  of  the  inconceivable 


forces  that  has  been  exerted  on  these 
castellated  cliffs. 

Centre  left,  a  bit  of  Bryce  Canyon. 
Centre  right,  the  other  half  of  the 
same  photograph. 

Lower  left,  two  oystermen  at  St. 
Michaels,  Md.,  preparing  for  the  day's 
work.  Lower  right,  the  oyster  fleet 
returns  to  its  anchorage  for  the 
night. 

Captain  A.  W.  Johnson  of  the  U. 
S.  S.  Colorado  looks  across  the  harbor 
at  San  Pedro,  at.  the  battleship  New 
Mexico  and  the  Palos  Verdes  hills  be- 
hind it. 

At  Long  Beach  a  quintet  of  RKO 
girls  do  their  rhythmical  stuff  on  tin 
sands. 

Centre,  lower,  an  old  tramp  at  Wil- 
mington, Calif. 


Twenty-two 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  1931 


Looking  In  on  Just  a  Few  New  Ones 


STRANGERS   MAY   KISS 

William,  Daniels,  Cameraman 

HERE  is  a  picture  you  may  write 
home  about,  this  "Srangers 
May  Kiss,"  which  M-G-M  has 
produced  with  Norma  Shearer  in  the 
leading  part.  It  is  a  production 
which  rings  the  bell  from  all  major 
angles- — and  these  include  story,  dia- 
logue, direction,  photography,  record- 
ing and  individual  characterization. 
To  those  interested  in  photography 
the  charm  of  the  picture  will  be  nota- 
bly enhanced  by  the  superb  work  of 
Daniels  and  his  associates. 

Another  major  factor  of  the  pro- 
duction is  the  dialogue.  It  is  striking 
in  its  sparkling  quality,  in  its  smart- 
ness, if  you  will.  It  has  that  unforced 
spontaneity  so  far  removed  from  the 
labored  wisecracking  of  the  lesser 
powered  writers  or  selective  assem- 
blers that  constitutes  it  a  genuine  de- 
light to  the  ear. 

The  characters  are  persons  of  edu- 
cation and  sharp  wit  if  not  of  large 
means,  and  it  is  with  unerring  skill 
the  conversation  reflects  that  situa- 
tion. 

The  story  is  from  the  book  by  Ur- 
sula Parrott,  the  source  of  "Divor- 
cee." The  dialogue  and  continuity 
are  by  John  Meehan,  with  George 
Fitzmaurice  directing. 

Although  Miss  Shearer  dominates 
the  tale  from  beginning  to  end  it  is 
not  because  she  is  designedly  given 
the  benefit  of  no  opposition.  To  the 
contrary,  there  is  an  abundance  of  it, 
with  opportunities  going  to  Robert 
Montgomery,  Marjorie  Rambeau, 
Irene  Rich,  Neil  Hamilton  and  others. 

Miss   Shearer  has  the  role  of  Lis- 


By  GEORGE  BLAISDELL 


beth,  a  woman  in  love  with  Alan,  por- 
trayed by  Hamilton,  a  world  wander- 
er on  assignment  who  believes  not  in 
marriage  and  is  able  to  instill  into 
Lisbeth  his  views  on  the  relation  of 
the  sexes.  The  affection  of  the  woman 
for  the  man  is  so  deeply  rooted  she 
follows  him  to  Mexico.  Here  the  two 
live  happily  until  the  man  is  ordered 
south  on  board  a  naval  vessel.  Lis- 
beth's  dream  is  ended. 

The  locale  changes  to  Paris,  where 
two  years  later  we  find  the  heroine. 
Later  it  shifts  to  New  York. 

"Strangers  May  Kiss"  is  a  wom- 
an's story — a  natural  matinee  subject 
of  great  appeal — but  nevertheless  the 
female  of  the  species  if  as  wise  as 
she  is  reputed  to  be  will  not  rest  until 
she  has  secured  the  attendance  at  the 
picture  of  her  particular  male  pos- 
session, whether  it  be  a  full-fledged 
sidekick  or  something  else  again. 

Somehow  the  male  person  emerges 
from  the  picture  somewhat  plucked 
of  his  plumage,  not  quite  such  a  shin- 
ing example  of  God's  great  gift  to 
his  immediate  community  as  he  would 
have  his  neighbors  believe;  in  fact  on 
the  whole  quite  humbled. 

On  the  female  side  of  the  cast 
Irene  Rich  is  Celia,  whose  kindly  ad- 
vice to  Lisbeth  regarding  the  beau- 
ties of  marriage  as  she  has  found  it 
for  a  dozen  years  gets  a  rude  check 
when  the  husband  is  caught  stepping 
out.  Then  there  is  Marjorie  Ram- 
beau, she  of  the  breezy  manner  and 
keen  wit,  in  the  part  of  great  and 
sincere    friend    of    Lisbeth.     Each    of 


these  talented  women  is  a  tower  of 
strength  to  the  production. 

On  the  male  side  Robert  Montgom- 
ery is  Steve,  the  unsuccessful  suitor 
for  the  hand  of  Lisbeth.  Steve's  phil- 
osophical and  good-tempered  accept- 
ance of  secondary  position  is  delight- 
fully interpreted  and  worthy  of  study 
by  those  short-tempered,  brusque 
males  who  never  seem  able  to  con- 
trol their  tongues  or  their  manners 
in  the  presence  of  a  successful  rival. 

To  Neil  Hamilton  falls  what  proves 
to  be  the  semi-heavy  part  of  success- 
ful lover,  a  role  at  times  requiring  the 
sacrifice  of  anything  resembling  audi- 
ence sympathy.  The  job  is  done  fear- 
lessly. 

We  reiterate,  it's  a  picture  to  write 
home  about. 


Les  Rowley  takes  his  camera  into  Elysian  Park 


ILLICIT 

Robert  Kurrle,  Cameraman 

BARBARA  STANWYCK  enters 
Warner  Brothers'  story  of  "Il- 
licit" as  a  good  actress.  She 
emerges  from  it  as  somethnig  else — 
something  more  than  a  good  actress. 
There  will  be  those  who  after  follow- 
ing through  with  her  in  the  final  half 
reel  of  the  picture  will  have  no  hesi- 
tation in  declaring  she  will  qualify  as 
a  great  one. 

Miss  Stanwyck's  performance  is  cu- 
mulative. Starting  easily  and  natu- 
rally from  zero  she  establishes  her 
command  of  the  auditor's  sympathy. 
In  spite  of  the  unconventional  char- 
acter of  the  part  assigned  to  her, 
that  of  a  woman  deeply  in  love  with 
a  man  yet  who  refuses  to  marry  him 
while  agreeing  to  live  with  him  out  of 
marriage,  her  hold  is  strengthened 
steadily  until  the  finish. 

Archie  Mayo  is  the  director  of  this 
tale  of  New  York  today  and  gives  us 
a  result  most  creditable  to  himself 
and  those  who  created  the  tale.  Har- 
vey Thew  adapted  the  screen  play  and 
dialogue  from  the  stage  production 
by  Edith  Fitzgerald  and  Robert  Ris- 
kin. 

The  brief  program  of  Warners' 
Hollywood  Theatre  refers  to  the  sub- 
ject as  "a  smart,  sophisticated  story 
of  ultra  moderns."  That  is  a  fair 
characterization,  a  truthful  one.  Mod- 
ern the  subject  certainly  is. 

Long-haired  adult  males  outwardly 
inclined  to  the  sanctimonious  view- 
point, stern-faced  adult  females  of 
the  congenitally  inclined  "Thou  shalt 
not"  stripe — the  smudgy  stuff  of 
which  censors  are  made — unanimously 
will  roll  their  eyes  and  point  down 
their  thumbs.  But  the  crowd  will  say 
"It's  good  entertainment."  And  that 
verdict  in  the  future  as  in  the  past 
will  continue  to  be  the  answer  to  the 
prayer  of  the  showman  reverent  and 
otherwise. 

It's  a  good  cast  that  is  marshalled 
behind  the  star.  James  Rennie  is  the 
lover  who  insists  on  becoming  a  hus- 
band and  who  wins  only  to  lose  and 
again  to  win  in  the  end — which  fact 
will  contribute  to  lessening  in  dimen- 


April,  19.31 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-three 


sions  the  elongated  faces  of  the  afore- 
said adult  m.  and  f.  persons. 

Charles  Butterworth  is  the  society 
drunk  who  contributes  to  reducing 
the  tension  of  serious  situations — and 
in  notable  degree.  Claude  Gillingwa- 
ter  is  the  father  of  the  in  and  out 
husband — and  gives  a  most  likable 
and  sympathetic  portrayal. 

Ricardo  Cortez  is  the  seeker  for  the 
hand  of  the  heroine,  both  before  and 
after  marriage — and  as  to  the  latter 
institution  of  the  same  opinion  as  the 
woman  he  loves.  The  authors  have 
made  Price  Baines  a  reasonable 
heavy,  one  without  a  trace  of  the 
deep-dyed  quality  so  easy  to  impart, 
even  one  that  may  take  the  honors 
from  the  husband  in  the  case  of  some 
of  the  women  customers. 

To  Natalie  Moorhead  is  assigned 
the  major  position  in  the  quadrangle, 
that  of  Margie,  who  would  take  over 
the  possession  of  the  husband  under 
any  circumstances  and  whether  the 
wife  wanted  him  or  not. 

Exhibitors  likely  will  be  interested 
in  the  commercial  slant  assumed  by 
the  dialogue  at  times.  Probably  there 
will  be  no  complaint  at  the  size  of 
the  imprinted  "Brunswick"  plastered 
across  the  radio  used  in  one  of  the 
scenes,  inasmuch  as  the  manufacturer 
of  that  instrument  is  a  Warner  sub- 
sidiary. There  are  other  and  notable 
instances,  however,  of  dragging  in  ad- 
vertisers by  the  heels  that  may  arouse 
interest. 

The  listener  to  a  broadcast  may 
tune  out  when  he  runs  into  too  heavy 
a  dose  of  advertising.  The  screen  cus- 
tomer is  "hooked,"  his  money  is  rung 
up,  and  he  is  helpless.  It  will  be  in- 
teresting to  observe  how  far  the  ways 
of  the  commercial  broadcaster  suc- 
cessfully may  be  extended  to  the 
screen. 

Coming  back  to  "Illicit,"  it's  an  in- 
teresting picture  four-fifths  of  its 
run.  The  final  fifth  puts  it  into  tne 
major  category,  one  that's  worth 
walking  a  mile  to  see. 


MAN    OF    THE    WORLD 
Victor'  Milner,  Cameraman 

THERE  is  a  particularly  effective 
bit  of  business  in  Paramount's 
"Man  of  the  World,"  with  Wil- 
liam Powell  at  the  head  of  the  cast. 
The  star,  a  crook,  in  love  with  an 
honest  girl,  has  to  the  latter  confessed 
his  real  identity  and  the  story  of  his 
black  blackmailing  doings.  The  other 
woman,  a  partner  in  crime  and  in 
love  with  him,  when  the  prospective 
bridegroom  has  told  her  what  he  has 
done  proceeds  more  in  sorrow  than  in 
anger  to  tell  him  a  thing  or  two — all 
to  the  effect  that  though  the  bride-to- 
be  now  knows  the  truth  the  end  of 
the  black  past  is  not  and  never  can 
be.  It  will  rear  its  head  at  most  un- 
expected moments  to  redisgrace  them 
both. 

The  words  bui'n  themselves  into  the 
mind  of  the  man  who  for  a  few  hours 
had  believed  he  could  see  his  way  out. 
As  he  walks  along  the  street  he  hears 
the  voice  of  Irene — the  audience  hears 
it — as  she  serves  notice  on  the  now 
thoroughly     enlightened     and     deeply 


disturbed  man  as  to  what  will  hap- 
pen if  he  leads  Mary  to  the  altar. 

In  the  past  we  have  been  given  to 
understand  what  is  passing  through 
the  mind  of  a  person  by  a  simple 
process  of  double  exposure  of  the  in- 
dividual of  whom  he  is  thinking.  In 
the  present  instance  we  hear  the  fate- 
ful words  that  are  hammering  on  his 
brain. 

While  the  novelty  may  mystify 
those  less  acquainted  with  picture 
technique  or  the  mentally  inalert  in 
spite  of  the  vision  of  the  two  women 
— the  bride-to-be  and  the  old  flame 
who  has  administered  the  warning — 
shown  just  before  the  reproduction 
of  the  words,  nevertheless  to  those 
who  catch  its  significance  it  is  most 
impressive. 

The  story  portraying  Powell  as  a 
blackmailer  may  not  entirely  please 
the  feminine  admirers  of  the  chief 
player — if  by  any  chance  it  be  true 
he  has  'em — but  surely  in  its  finale  it 
will  square  with  the  more  or  less  in- 
exorable demands  of  stage  justice,  if 
we  accept  as  full  atonement  his  sin- 
gularly effective  method  of  renuncia- 
tion of  the  woman  he  loved. 

Carole  Lombard  is  Mary,  visiting 
Paris  with  her  uncle  and  who  falls  in 
love  with  Wagstaff,  expatriated 
American.  Wynne  Gibson  is  Irene, 
the  partner  business  and  otherwise 
of  Wagstaff,  and  finely  plays  a  diffi- 
cult part.  Guy  Kibbee  is  Taylor,  the 
American  visiting  Paris  but  uninter- 
ested in  monuments,  horses  and  other 
things  of  which  there  ar-e  plenty  in 
America. 

The  story  was  written  by  Herman 
J.  Mankiewicz  and  directed  by  Rich- 
ard Wallace. 

The  locale  of  the  entire  picture  is 
Parisian.  The  atmosphere  of  the 
French  capital  would  seem  to  be  ex- 
cellent, which  remark  also  may  be  ex- 
tended to  the  few  lines  of  French 
indulged    in    by    Powell.     The    remark 


distinctly  does  not  apply  to  the  play- 
er's continuity  when  with  stick  in 
hand  he  essays  to  set  a  few  pieces  of 
type.  The  result  is  just  pi.  A  cap  C 
and  a  lower  case  h  and  a  three-em 
space  in  that  order  will  start  nothing 
intelligible  to  the  average  printer. 

For  those  who  at  least  are  open 
minded  and  not  antagonistic  toward 
crook  pictures  "Man  of  the  World" 
will  make  excellent  entertainment.  Its 
makers  are  to  be  congratulated  on 
the  courage  displayed  in  the  ending. 
If  it  be  not  what  the  sap  would  call 
"happy"  it  surely  is  logical  and  sat- 
isfactory. 


VIENNESE   NIGHTS 

James  Van  Trees  and  Frank  Good, 
Cameramen 

NOTHING  the  Warners  have 
done  in  twenty  or  more  years 
of  catering  to  picturegoers  will 
give  them  a  better  claim  to  the  con- 
sideration of  their  patrons  than  "Vi- 
ennese Nights,"  the  screen  operetta 
composed  by  Oscar  Hammerstein  2d 
and  Sigmund  Romberg.  The  subject 
is  described  as  being  the  first  of  its 
kind  to  be  written  directly  for  the 
screen. 

Strangely  enough,  instead  of  pro- 
viding a  more  or  less  perfunctory  peg 
upon  which  to  hang  a  number  of 
songs  and  choruses  this  operetta  will 
more  than  hold  its  own  as  a  straight 
dramatic  production.  It  is  a  fact,  and 
that  it  is  such  again  is  emphasized  as 
a  singular  one,  that  "Viennese 
Nights"  has  in  its  generous  length 
not  only  the  entertainment  quality 
that  attaches  to  excellent  music  and 
singing  but  all  the  illusion  and  deeply 
moving  heart  interest  that  would  be 
found  in  an  unusually  good  screen 
drama. 

In  making  this  strong  statement 
the  writer  is  taking  into  account  fac- 
tors having  nothing  whatever   to   do 


Here  is  another  view  of  this  neglected  beauty  spot  of  Los  Angeles 


Tin  at i/-four 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  1931 


with  his  own  intense  reactions  to  the 
vital  appeal  of  the  story.  He  is  throw- 
ing into  the  balance  the  deep  silence 
of  a  crowded  house  which  on  two  oc- 
casions was  borne  into  his  conscious- 
ness when  for  a  flash  he  became  dimly 
cognizant  of  things  around  him. 

The  period  of  the  story  extends 
from  about  1880  to  1930  and  traverses 
three  generations,  the  second  of 
which  is  not  registered  on  the  screen. 

Vivienne  Segal  above  all  others  is 
the  center  of  interest  in  the  part  of 
Elsa,  girl  of  dreams.  Alexander  Gray 
as  Otto,  the  poor  musician  she  loves, 
by  his  work  adds  materially  to  the 
pull  of  the  tale.  So,  too,  does  Walter 
Pidgeon  as  Franz,  the  soldier  who 
wins  the  hand  of  Elsa. 

Louise  Fazenda  comes  pretty  near 
stealing  any  sequence  in  which  she  is 
given  half  a  chance,  but  the  opportu- 
nities are  comparatively  limited.  Bert 
Roach  is  Gus,  the  practical  friend  of 
the  dreamer  Otto,  and  stays  with  the 
story  throughout  its  length  and  to 
its  advantage. 

Jean  Hersholt  as  Hocher,  father  of 
Elsa,  plays  the  scoundrel  when  the 
daughter  is  tricked  into  marrying  the 
man  of  position  and  means. 

That  the  all  Technicolor  "Viennese 
Nights"  will  be  a  success  is  forecast 
by  the  reception  accorded  it  in  Los 
Angeles.  Plainly  it  has  been  on  the 
shelf  quite  some  time  since  its  com- 
pletion, presumably  because  its  mak- 
ers were  afraid  to  release  it  on  ac- 
count of  it  being  a  musical,  some 
months  since  assumed  to  be  anathema 
or  something  like  that  to  the  public. 

As  always  has  been  the  rule — that 
one  success  will  upset  all  the  croak- 
ings  of  the  witch  doctors  paid  by  pro- 
ducers and  distributors  to  interpret 
public  opinion — we  now  may  expect 
other  musical  productions.  If  the 
ones  to  come  are  as  good  as  the  sub- 
ject herewith  reviewed  the  public  will 
flock  to  see  them.  If  among  them 
there  be  those  coming  under  the  clas- 
sification of  "just  another  picture," 
the  public  won't  do  anything  of  the 
sort. 


LOOSE   ENDS 

Claude  F.  Greene,  Cameraman 

WHY  in  the  world  when  a  for- 
eign company  is  making  a  pic- 
ture with  the  intention  of  giv- 
ing it  distribution  away  from  home 
does  it  restrict  the  action  to  inte- 
riors the  like  of  which  constitutes  no 
thrill  abroad — means  not  a  thing  to 
the  expectant  picturegoer? 

Why  doesn't  it  go  into  the  English 
countryside  and  show  us  a  bit  of  the 
landscape  famous  the  world  over? 

These  are  questions  an  American  is 
bound  to  raise  after  looking  at  the 
British  Elstree's  production  of  "Loose 
Ends,"  directed  by  Norman  Walker 
and  shown  at  the  Filmarte.  The  pro- 
ducer seemingly  has  taken  the  play 
by  Dione  Titheradge  as  it  was  on  the 
stage  and  bodily  transferred  it  to  the 
screen.  In  any  event  the  action  has 
been  restricted  to  a  half  dozen  in- 
teriors. 

The   criticism   is   not  leveled   at  the 


play  itself  but  rather  at  its  treat- 
ment or  lack  of  screen  treatment  in 
ignoring  the  external,  the  physical, 
factors  that  would  be  of  advantage  to 
a  production  seeking  recognition 
abroad. 

The  first  half  or  third  anyway  of 
the  story  did  not  give  occasion  for  par- 
ticular attention.  The  opening  chat- 
ter of  the  first  reel  was  marred  by 
lack  of  intelligibility,  by  indistinct- 
ness in  enunciation  or  possibly  ab- 
sence of  volume.  But  this  handicap 
was  short  lived. 

Once  the  story  began  to  unfold,  as 
it  did  with  the  introduction  of  Owen 
Nares  as  Malcolm  Forrest,  the  in- 
terest rises.  Nares  is  seen  as  the 
head  of  the  cast  carrying  the  role  of 
a  man  of  mystery  who  marries  a  suc- 
cessful actress. 

The  climax  comes  when  a  newspaper 
uncovers  Forrest  as  a  one-time  lifer 
for  murder.  After  twenty-four  hours 
in  hiding  the  disgraced  man  looks  up 
Brenda,  friend  of  Nina,  his  wife.  He 
learns  the  actress  wants  a  divorce, 
and  looks  to  Forrest  to  provide  it. 

The  man  admits  his  helplessness 
and  declares  he  cannot  aid  Nina. 
Brenda  intimates  all  he  needs  is  co- 
operation and  she  would  guarantee 
that  was  found.  Forrest  senses  the 
situation,  but  in  spite  of  Brenda's  love 
for  him  he  still  wants  his  wife.  So 
Brenda  goes  to  the  front  for  him,  and 
things  are  straightened  out. 

Three  persons  stand  out  in  the  sto- 
ry— Nares,  Edna  Best  as  Nina,  and 
Adrianne  Allen  as  Brenda.  While 
the  latter  has  the  secondary  feminine 
position  she  goes  a  distance  toward 
stealing  the  honors  in  that  division. 

The  story  in  the  second  half  makes 
a  notable  pull  upon  the  auditor's  sym- 
pathy, markedly  so  nearing  the  close. 
With  the  exception  noted  the  sound  is 
satisfactory.  As  to  the  photography 
no  exceptions  will  be  indicated. 


TABU 

Floyd   Crosby,   Cameraman 

WHAT  H.  J.  Flaherty  did  for  the 
entertainment  of  the  world 
with  "Nanook"  he  has  in  asso- 
ciation with  the  late  F.  W.  Murnau 
accomplished  with  "Tabu,"  which 
Paramount  will  distribute.  To  be 
sure,  the  one  was  the  story  of  a  battle 
for  life  in  the  arctic  north  and  to  that 
degree  was  more  eloquent  in  realism 
than  a  tale  of  the  South  Seas,  where 
one  may  get  sustenance  without  en- 
countering the  perils  that  attend  the 
northerner  in  his  hunt  for  it. 

Nevertheless  Murnau  and  Flaherty 
brought  back  a  well-organized  picture 
— one  having  behind  and  under  it  not 
only  a  story  with  a  plot  but  also  a 
cast  of  native  players  who  so  far  as 
could  be  discovered  are  under  no  ob- 
ligations to  extend  any  honors  to  their 
white  brother  and  sister  players  re- 
gardless of  identity. 

Particularly  does  the  immediately 
foregoing  remark  applv  to  Reri  the 
Girl  and  to  Hitu  the '  Old  Warrior. 
Matahi  the  Boy  was  very  fine  in  his 
characterization  of  the  lover  of  Reri, 
but  he  was  in  fast  company. 


The  screen  states  only  native  born 
South  Sea  Islanders  appear  in  the 
picture,  with  a  few  half-castes  and 
traders,  but  the  girl  in  feature  and 
in  charming  bearing  looks  very  much 
the  Anglo-Saxon.  It  is  certain  her 
general  appearance  is  going  to  be  the 
object  of  real  attention  on  the  part  of 
some  of  her  white  sister  players  less 
fortunately  favored  in  face  and  figure 
and,  what  may  be  true,  too,  in  brain 
capacity  and  acting  ability. 

Murnau  chose  for  his  vehicle  a  story 
of  the  islands,  of  the  chiefs  making- 
selection  of  a  maiden  to  represent  the 
best  in  humankind,  a  saintlike  crea- 
ture upon  whom  no  man  should  lay 
hands.  To  all  men  she  was  there- 
after to  be  "Tabu."     The  tragedy  of 

(Continued  on  Page  38) 


With  Kling  and  His  Camera 


(Continued  from  Page  21) 

as  well  as  a  stiff  one  he  discovered  he 
was  being  given  credit  for  being  a 
"wise  one." 

The  answer  is  that  Kling  remained 
at  that  studio  for  three  and  a  half 
years,  since  which  time  he  has  been 
one  year  at  R-K-0  and  for  months 
now  at  M-G-M. 

Kling  has  come  to  the  very  definite 
conclusion  he  prefers  still  work  to  his 
first  love  of  the  motion  picture  cam- 
era, for  one  reason  the  nature  of  the 
work  seeming  to  allow  more  latitude 
in  the  way  of  individual  initiative. 

The  photographer  believes  with  a 
good  whist  player  that  if  it  be  impor- 
tant to  know  the  rules  of  the  game 
and  how  to  play  them  it  is  of  even 
greater  importance  to  know  when  to 
break  them.  As  to  the  latter  he  is 
under  the  impression  that  in  the  cover 
of  International  Photographer  for 
March  he  fractured  a  few  of  the  ac- 
cepted rules  of  composition.  Inciden- 
tally we  might  tell  this  young  man 
that  so  far  as  we  know  the  cover 
attracted  more  favorable  attention 
than  any  of  its  recent  predecessors — 
which  is  saying  something  more  than 
a  little. 

The  magazine  Screenland  in  its 
award  for  March  of  its  "Best  Still  of 
the  Month"  chose  one  of  the  subjects 
of  Kling,  as  it  has  done  on  six  occa- 
sions previously  in  the  preceding  two 
years,  action  in  itself  which  describes 
the  young  man's  standing  among  his 
brother  stillmen. 

In  answering  a  question  regarding 
the  photographs  of  Bryce  canyon, 
shown  on  the  upper  row,  the  photog- 
rapher said  some  of  the  rocks  towered 
2500  feet  sheer.  To  obtain  these  shots 
it  was  necessary  to  make  a  trip  of  five 
hours  by  burro,  but  it  will  be  agreed 
the  result  was  well  worth  the  trouble. 

St.  Michael's,  the  town  behind  the 
oystermen  shown  on  the  lower  cor- 
ners, figured  prominently  in  the  war 
of  1812.  Here  the  natives  in  order  to 
deceive  the  gunners  of  the  British 
fleet  hung  lanterns  in  the  trees,  and 
the  cannon  balls  went  over  the  town. 
Two  of  these  missiles  still  are  im- 
bedded in  the  trees. 


*•£?*♦ 


@ream  a  th  Stills 


<?tz,o+ 


Here  is  a  pictorial  tree  on  the  shore  of  Lake  George,  in  the  high  Sierras  in  California 

Photographed  by  Ray  Jones 


d^Ofu 


Qream  oth Stills 


C^'O*. 


^■i.** 


A.         '      ^V" 

.  JW*^ 

■li^zj&toM 

^^M^Hk^^HRfe  ';:: 

■  ■  ■  {r  ^n  ■■!_"'  jsysH 

r  jg 

SOB  677 

^tf'^^^B                                                                                       35    *^^^^^^                             j:          '^B 

JHiB^^iniMiteffcuM^i    lL.  * 

r/iis    brilliant 

photograph  was 

exposed  by 

Rutph  Eyarger  near 

Huntington  Lake 

in  the  high 

Sierras 


Daiud  Ragin  has 

labeled  -most  aptly 

this  view  of 

Mount  Whitney 

near  Lone  Pine,  Cal., 

"The  Open  Road." 

Surely  it  is  wide 

open  enough  for 

any  one 


,.*5*r^. 


@ream  oth Stills 


c^L'O^ 


Here  is  a 

reminiscence  of 

the  old  Kalem  days, 

or  the   O'Kalems  as 

members  of  the 

company 

facetiously  described 

themselves 

twenty  years  ago, 

photographed   by 

George  K.   Hollister 

in  Beaufort, 

County  Kerry, 

Ireland 


A  scene  in  early  May 
at  Eyak  Lake,  near 
Cordova,  Alaska, 
photographed   by 
Pierre  Mols 


*°gr£* 


Gream  oth Stills 


itfrafc 


Esselle  Parichy  in  Miami  sends  this  interesting  camera  study  of  a  friend  and  her  three  friends 


April,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-five 


mateur J)epartment\ 

Home  Equipment  for  Radio  Stores 


Stewart- Warner  to  Stimulate  Summer  Sales  Will 

Distribute  on  Large  Scale  As   Unit 

Camera,  Projector  and  Screen 


WITH  the  idea  of  offering  the 
radio  dealer  a  new  product  that 
will  help  him  keep  his  summer 
sales  up  to  par  the  Stewart-Warner 
Corporation  of  Chicago  announces  the 
production  of  an  amateur  moving  pic- 
ture camera,  the  "Hollywood  Model," 
designed  by  professional  cameramen 
of  Hollywood  who  kept  in  mind  the 
thought  it  must  be  understandable  by 
amateurs. 

The  result,  according  to  C.  B.  Smith, 
president  of  Stewart-Warner,  is  an 
amazing  simplicity  of  operation,  as 
revealed  through  the  finished  work  of 
novices. 

The  amateur's  common  difficulty  in 
adjusting  the  lens  to  varying  light 
conditions  is  claimed  to  be  eliminated 
by  a  simplified  gauge  attached  to  the 
lens  which,  when  turned  to  one  of  five 
plainly  marked  stops,  admits  the  prop- 
er amount  of  light  into  the  interior. 
Another  development  of  the  machine 
is  a  sound  counter  that  audibly 
"clicks"  as  each  foot  of  film  passes 
the  lens. 

It  is  supplemented  by  a  regular  vis- 
ual footage  indicator  dial  set  in  the 
side  of  the  case.  By  reducing  the 
usual  number  of  moving  parts  in  such 
a  machine  the  camera  is  said  to  be 
"fool-proof"  and  practically  free  from 
mechanical  troubles. 

An  unusual  plan  for  merchandising 
the  camera  has  been  developed,  some- 
thing entirely  different  from  what 
has  prevailed  previously  in  this  trade, 
because,  explains  the  president  of  the 
company,  "we  are  thoroughly  con- 
vinced such  an  article  at  the  price 
we  have  in  mind  will  have  a  popular 
appeal. 

"Many  years  of  experience  with 
mass  production  methods  enable  us  to 
produce  a  moving  picture  camera,  an 
article  hitherto  classed  as  a  luxury 
item,  at  a  price  which  will  rapidly 
increase  the  growing  popularity  of 
home  movies." 

The  camera  is  extremely  compact 
and  light,  being  2  inches  thick,  5 
inches  wide  and  8%  inches  high.  Its 
durable  construction  recommends  the 
camera  for  a  real  traveling  compan- 
ion. A  smart  leather-bound  carrying 
case  and  strap  are  included.  It  is 
made  of  duralumin  throughout,  with 
etched  satin-finished  case  and  gun- 
metal  satin-finished  lens  mount.   Load- 


ed with  100  feet  of  film  the  weight 
is  3V2  pounds.  With  case  and  shoul- 
der carrying  strap  the  new  instru- 
ment will  retail  at  $50. 

Plans  of  the  manufacturers  antici- 
pate a  new  home  projector  and  spe- 
cial screen  as  accessories  to  the  pres- 
ent camera,  these  three  products  to  be 
offered  as  a  unit  at  a  popular  price. 

All  of  the  experimental  work  on  the 


Hollywood      Model      Stewart-Warner 
home  movie   camera 


camera  as  well  as  the  manufacture  of 
the  initial  500  was  done  in  Hollywood 
under  the  supervision  of  Lewis  Moo- 
maw,  oldtime  picture  producer,  at  a 
factory  on  Santa  Monica  Boulevard. 
The  plant  was  moved  to  Chicago  at 
the  end  of  February.  It  is  the  inten- 
tion of  the  company  to  maintain  a  ser- 
vice department  in  Hollywood  in  or- 
der to  take  care  of  the  requirements 
of  the  western  states. 


Filmophone  W  ith  Its  New 
375-Watt   Lamp  Projects 

Well  on  16-Foot  Screen 

IN  Orchestra  Hall,  Chicago,  re- 
cently a  travel  lecture  by  Burton 
Holmes  was  followed  by  an  inter- 
esting demonstration  of  the  Bell  & 
Howell  16mm.  talker  reproducer,  the 
Filmophone. 

In  this  demonstration,  it  is  stated 
a  new  model  Filmo  projector  unit, 
equipped  with  one  of  the  recently  per- 
fected 375  watt  lamps,  threw  per- 
fectly clear  pictures  16  feet  3  inches 
wide  on  the  screen,  and  the  voice  and 
musical  accompaniment  could  be  dis- 
tinctly heard  in  the  farthest  corner  of 
the  big  theatre  which  seats  over  2500 
persons. 

The  size  of  the  picture  on  the  screen 
was  determined  by  actual  measure- 
ment, and  the  quality  and  volume  of 
sound  accompaniment  was  tested  in 
several  parts  of  the  hall,  according 
to  those  present. 

The  test  of  the  outfit  was  staged  by 
the  industrial  film  division  of  Burton 
Holmes  Lectures,  Inc.,  after  the  au- 
dience which  had  attended  the  Holmes 
lecture  had  left  the  hall,  although  Mr. 
Holmes  and  several  of  his  friends  re- 
mained to  see  the  results  of  the  dem- 
onstration. 

"In  the  top  gallery."  says  Burton 
Depue  of  the  Burton  Holmes  organi- 
zation, "I  could  distinguish  every 
word  coming  from  the  loud  speaker 
on  the  stage,  but  for  the  life  of  me 
I"  could  not  tell  where  the  speaker  was 
situated;  it  was  too  far  away  to  be 
seen  from  this  point." 

The  Filmophone  was  placed  in  the 
regular  projection  booth  of  the  hall, 
over  90  feet  from  the  stage,  and  a 
cord  approximately  150  feet  long  was 
extended  from  the  booth  to  the  loud 
speaker.  A  regular  two-inch  lens  was 
employed  in  the  projector. 

The  volume  of  the  sound  accompani- 
ment is  reported  to  have  been  so 
great  that  it  was  unnecessary  to  ad- 
vance the  volume  control  to  capacity. 


Starting  Film  Library  for 

Ann  Harding" s   Daughter 

When  Jane  Bannister,  the  beauti- 
ful baby  daughter  of  Harry  Bannis- 
ter and  Ann  Harding,  grows  to  young 
womanhood  she  will  be  able  to  see  her- 
self as  others  have  seen  her  from  the 
time  she  was  one  month  old.  Mr.  Ban- 
nister is  an  ardent  amateur  movie 
photographer  and  each  month  he  has 
made  new  pictures  of  his  youthful 
daughter,  the  total  footage  taken  to 
date  passing  the  ten  thousand  mark. 


Twenty-six 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  1931 


Advise  Tourists  as  to  Camera  Care 


Manufacturer  Makes  Practical  Suggestions  Re- 
garding Best  Methods  of  Protecting 
Film  and  Avoiding  Annoyance 


MORE  and  more  travelers  are  tak- 
ing- amateur  movie  cameras 
with  them  when  they  fare 
abroad.  They  are  doing-  this  because 
they  find  that  these  little  instruments 
enable  them  to  capture  foreign  life  in 
action — just  as  it  is  lived.  And  when 
they  return  to  their  homes,  they  have 
only  to  throw  their  movies  on  the 
screen  to  relive  the  joys  of  their 
travels  over  and  over  again. 

Because  of  the  increasing  vogue  of 
travel  movie  making  Bell  and  Howell 
make  a  few  practical  suggestions  as 
to  taking  camera  and  film  to  foreign 
countries. 

With  regard  to  the  camera  itself, 
special  precautions  are  necessary  in 
taking  care  of  the  lens,  because  mois- 
ture is  very  apt  to  condense  upon  it, 
leaving  a  slight  deposit  which  will  in- 
terfere with  the  possibility  of  good  re- 
sults. This  seems  an  unimportant 
point,  but  a  dirty  lens  can  spoil  many 
dollars  worth  of  film. 

One  firm  manufactures  a  special 
lens  cleaning  outfit,  the  price  being 
nominal.  Other  than  the  matter  of 
keeping  the  lens  clean,  no  special  pre- 
cautions as  to  the  care  of  the  camera 
are  necessary  beyond  the  actual  in- 
structions issued  with  every  instru- 
ment sold,  except  to  avoid  getting 
sand,  dust  or  water  in  the  mechanism. 

Film  can  be  bought  in  this  country 
and  taken  abroad;  in  fact,  it  is  gen- 
erally cheaper  to  do  so  because  the 
price  in  the  various  foreign  countries 


is  usually  the  same  as  in  the   United 
States  plus  an  import  duty. 

However,  films  can  be  purchased  at 
almost  any  of  many  photographic  sup- 
ply houses  abroad,  and  development  of 
their  particular  make  of  reversal  film 
is  undertaken  without  additional  cost 
at  numerous  laboratories  maintained 
in  foreign  countries  by  film  manufac- 
turers. 

All  film  is  adequately  packed  for 
normal  use,  but  if  a  prolonged  stay  in 
a  tropical  area  is  anticipated  film 
should  be  purchased  in  special  export 
packing  for  which  there  is  a  slight  ad- 
ditional charge. 

Few  Restrictions 

At  the  present  time  there  is  a  duty 
on  amateur  motion  picture  film  and 
equipment  entering  certain  foreign 
countries  which,  in  the  case  of  travel- 
ers making  a  record  of  their  tours,  is 
not  often  enforced.  The  experience 
of  the  great  majority  is  that  a  small 
supply  of  film  for  personal  use,  to- 
gether with  their  cameras,  is  admitted 
practically  everywhere  without  restric- 
tion. 

In  some  countries  the  traveler  is 
occasionally  required  to  deposit  an 
amount  on  the  movie  camera  and  film 
approximately  equal  to  the  import 
duty.  This  amount  is  refunded  if  the 
material  is  taken  out  within  a  specified 
time,  usually  six  months. 

The  United  States  Tariff  act  of  1930, 
now  a  law,  provides  that  motion  pic- 


Scmford  Greenwald  reciprocates  for  Dr.  Einstein  as  the  two  stage  a  camera* 

duel  in  Pasadena:    Taken  on  the  occasion  of  the  famous  scientist's  farewell  to 

Western  America. — Photo  by  Merl  La  Voy 


ture  film  exposed  abroad,  whether  de- 
veloped or  not,  if  of  American  manu- 
facture and  if  not  to  be  used' for  com- 
mercial purposes,  may  be  brought  into 
the  United  States  duty  free.  This 
free  entry  may  be  made  into  the 
United  States  possessions  overseas  as 
well  as  the  mainland,  with  the  excep- 
tions of  the  Philippine  Islands,  the 
Virgin  Islands,  American  Samoa  and 
the  Island  of  Guam. 

Before  leaving  this  country  on  a 
trip  abroad  it  is  especially  suggested 
that  you  register  your  camera,  lenses, 
film,  etc.,  with  the  customs  office  at 
the  port  of  departure,  using  Form  No. 
4455.  This  will  save  all  argument  as 
to  American  origin  when  you  return. 
Advise  Occasional  Processing 

After  you  have  replaced  your  ex- 
posed film  in  the  round  black  metal 
case  which  is  furnished  with  all  16 
mm.  film,  place  the  case  in  your  paper 
carton  or  metal  sealing  case  but  do 
not  reseal.  If  you  wrap  the  entire 
package  in  several  layers  of  ordinary 
newspaper  it  will  help  wonderfully  in 
preventing  deterioration  from  mois- 
ture. 

It  is  recommended  that  all  travelers 
have  an  occasional  roll  of  film  pro- 
cessed abroad  if  possible,  so  as  to 
afford  an  opportunity  of  checking 
their  results.  If  you  have  film  pro- 
cessed abroad,  it  is  advisable  to  avoid 
mailing  it  across  international  bor- 
ders, as  delays  and  difficulties  invari- 
ably occur. 

Many  travelers  prefer  to  bring  most 
of  their  film  home  with  them  to  have 
it  processed  at  a  domestic  laboratory 
with  whose  work  they  are  familiar. 

Note — At  the  date  of  writing,  all 
film  processed  in  Italy  must  be  cen- 
sored in  Rome  before  leaving  the 
country.  This  is  a  long  procedure 
and  should  be  avoided  if  possible  by 
having  film  processed  after  leaving 
Italy. 

The  laws  evidently  are  not  intended 
to  operate  against  the  amateur;  there- 
fore, film  is  generally  admitted  free 
providing  it  is  carried  in  the  owner's 
personal  baggage. 

Kolibri  Makes  Bow 

A  new  camera,  the  Kolibri,  makes 
its  bow  to  the  photographers  of 
America,  through  Carl  Zeiss,  Inc.,  485 
Fifth  avenue,  New  York.  Kolibri  is 
an  extremely  compact  instrument,  is 
only  4%  by  3  by  2  inches  in  size  out- 
side, uses  standard  vest  pocket  roll 
film  on  which  it  produces  sixteen  ex- 
posures, each  IVi  inches  by  1%  inches. 

The  ordinary  vest  pocket  print  is 
1%  inches  by  2Vz,  which  the  Kolibri 
"halves,"  giving  you  twice  as  many 
exposures.  The  lens  is  a  Carl  Zeiss 
Tessar  f3.5  with  2  inch  focal  length, 
with  enlargements  made  up  to  10  by 
14  in  size. 

The  Compur  Shutter  is  standard 
equipment,  giving  automatic  shutter 
speeds  from  1-300  of  a  second  to  one 
second  along  with  the  regular  time 
and    bulb   equipment. 


April,  19.il 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-seven 


Use  of  Business  Talking  Pictures 
to  Expand  Rapidly,  Says  Executive 


ONE  of  the  greatest  sales  promo- 
tional efforts  ever  employed  by 
our  company,"  is  the  way  George 
W.  Stout,  advertising  manager  of  the 
Perfect  Circle  Company,  comments  on 
the  talking  motion  picture  sales  pro- 
gram recently  put  into  operation  by 
that  concern. 

"We  will  venture  to  predict,"  says 
Stout,  "that  the  use  of  talking  motion 
pictures  in  business  will  grow  by 
leaps  and  bounds  within  the  next  two 
years  and  that  such  pictures  will  be 
a  major  selling  force  in  the  sales  set- 
up of  many  American  corporations." 

The  Perfect  Circle  Company  manu- 
factures automobile  piston  rings,  and 
its  talking  picture  is  a  vivid  presenta- 
tion, practically  an  hour  in  length,  of 
the  company's  personnel,  its  plant 
and  its  product.  Sounds  and  scenes 
of  the  factory  in  operation,  appro- 
priate musical  settings,  and  interest- 
ing talks  by  company  executives  who 
appear  on  the  screen  are  all  effect- 
ively introduced.  The  fact  that  the 
executives  can  in  this  way  directly 
address  the  company's  customers  is 
stressed  by  Stout  as  highly  important. 

Showings  are  arranged  by  the  com- 
pany's jobbers  and  wholesale  distribu- 


American  Sound  Equipment 

For  New  West  Indian  House 

THERE  was  opened  in  San  Juan, 
on  January  1,  1931,  a  new  mo- 
tion picture  theatre,  The  Fox, 
under  the  management  of  Rafael  Ra- 
mos Cobian,  who  also  is  the  operatoi 
of  The  Olimpo,  according  to  Trade 
Commissioner  J.  R.  McKey,  San  Juan, 
Porto  Rico. 

In  its  appointments,  lighting,  etc.,  it 
is  the  most  attractive  amusement 
house  in  the  island.  It  announces  that 
it  will  specialize  on  English  language 
films. 

The  sound  equipment  is  of  Ameri- 
can make. 


As  John  Bull  Plans  It 

Western  Electric  portable  equipment 
has  been  installed  aboard  H.M.S.  Re- 
nown. The  ship's  first  cruise  after 
the  installation  was  to  the  Mediter- 
ranean, and  twenty  feature  films  were 
taken  along. 


Fifty  for  Spain 

With  its  recent  installation  at  the 
Joffre  Cinema,  Ferrol,  Western  Elec- 
tric has  completed  its  fiftieth  installa- 
tion in  Spain.  The  Joffre  Theatre 
serves  a  district  of  approximately 
30,000  inhabitants. 


Elliott  at  RKO 


After  four  years  at  the  Warner 
Studio  as  still  photographer,  Mack 
Elliott  has  transferred  his  skill  to 
RKO. 


tors.  Audiences  consist  for  the  most 
part  of  auto  accessory  dealers,  auto 
mechanics,  repairmen,  garage  pro- 
prietors and  other  logical  buyers  of 
the  company's  product. 

"We  have  a  very  accurate  record  on 
the  use  of  our  talking  picture  equip- 
ment," says  Stout.  "Our  January 
figures  indicate  that  252  shows  were 
attended  by  11,549  persons,  or  an 
average  of  46  a  meeting.  In  February 
the  records  indicate  that  we  had  198 
showings  to  10,269  persons,  or  an 
average  of  52  a  meeting.  The  grand 
total  for  the  two  months  is  21,818 
persons  at  450  showings,  or  an  aver- 
age of  48  a  showing.  The  Bell  & 
Howell  Filmophone  is  playing  a  big- 
part  in  putting  over  this  program. 

"We  have  just  developed  a  new 
invitation  form  to  be  used  in  working 
up  big  audiences.  This  invitation  will 
be  imprinted  with  the  name  of  the 
person  to  which  it  is  sent,  the  time 
and  place  of  the  meeting,  etc. 

"Also  we  have  developed  a  film 
showing  report  which  gives  us  an  ac- 
curate record  of  each  meeting  and 
allows  us  to  'feel  the  pulse,'  so  to 
speak,  of  these  meetings." 


Bell  Jumps  to  Chicago 

Walter  W.  Bell,  manager  of  the 
cineart  department  of  the  Hollywood 
Film  Enterprises,  left  Los  Angeles 
March  18  for  a  short  business  trip  to 
Chicago. 


"Under  Paris  Roofs" 

(Continued  from  Page  8) 
cally  all  screen  work  in  that  country 
came  to  a  stop.  Pathe  and  Gaumont 
were  world  leaders,  with  Italian  and 
Scandinavian  manufacturers  close  be- 
hind them. 

To  the  French  as  picturemakers 
the  United  States  owed  much  in  the 
early  days — in  days  when  great  ac- 
tors in  the  former  country  did  not 
from  their  eminence  look  down  in  dis- 
dain upon  the  screen  and  great 
American  actors  did  do  just  that. 
Of  course  the  great  American  actors 
very  quickly  got  over  the  disdainful 
attitude,  that  is,  those  who  found  they 
could  make  good  in  the  new  medium. 

So  in  the  future  as  in  the  past  it  is 
possible  the  American  picturemakers 
with  profit  may  sit  at  the  feet  of  the 
French  producers. 

Fundamentally  genuine  screen 
drama  even  in  the  silent  days  was  a 
department  of  literature,  as  the  art 
of  real  story  telling  always  has  been 
and  always  will  be.  With  the  coming 
of  sound  and  dialogue  the  relation- 
ship of  the  screen  to  literature  has 
bee"  intensified. 

The  good  story  teller  who  also  has  a 
command  of  the  art  of  literary  ex- 
pression is  coming  into  his  own.  The 
producer  or  executive  unable  to  rec- 
ognize this  particular  individual  or 
his  work  inevitably  is  slated  for  the 
discard. 

France  is  a  literary  nation.  Her 
picturemakers  through  American  ver- 
sions of  French  films  in  the  days  to 
come  may  contribute  much  to  the  en- 
tertainment of  Americans. 

They  may  do  more.  Simultaneously 
they  may  remind  their  American  com- 
petitors that  it  takes  something  more 
than  a  million  dollars  to  make  a  good 
picture. 


Sir  Williaim  Letts,  K.B.E.,  was  the  guest  of  honor  at  a  great  war  dance  held 

at  Johannesburg,  and  of  course  recorded  the  colorful  ceremony  with  his  Filmo. 

He  is  seen  here  talking  with  the  dance  leader  just  after  the  action  had  stopped. 

—Photo  Courtesy  Bell  c£-  Howell 


Twenty-eight 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  19S1 


Bell  and  Howell  to  Build  in  JVest 


Two-Story  Structure  Will  Be  Situated  in  Holly- 
wood and  Will  Be  Devoted  to  Research 
and  Service  Work 


BEFORE  his  departure  for  the 
east,  J.  H.  McNabb,  president  of 
Bell  &  Howell,  of  Chicago,  an- 
nounced the  acquisition  of  a  site  with 
a  frontage  of  240  feet  on  La  Brea 
avenue,  south  of  Melrose,  upon  which 
will  be  erected  a  Class  A  building  to 
house  the  west  coast  branch  of  the 
company. 

The  building  itself  and  adjacent 
walled-in  parking  space  for  the  con- 
venience of  patrons  will  extend  over 
a  frontage  of  140  feet,  the  remainder 
of  the  site  being  reserved  for  future 
expansion. 

The  building  will  be  two  stories 
high  and  be  topped  by  an  attractive 
tower,  lending  grace  to  the  structure 
and  classing  it  as  a  new  Hollywood 
landmark. 

The  phenomenal  technical  advances 
of  the  motion  picture  industry 
prompted  the  company  to  establish  in 
Hollywood  as  a  branch  of  its  Chicago 
research  and  engineering  division  a 
fully  equipped  and  competently 
manned  engineering  department. 

The    Hollywood    branch    will    offer 


its  services  to  photographers,  labora- 
tory experts  and  producers;  gather 
and  develop  new  ideas  to  further  the 
accomplishments  of  the  industry  with 
the  double  advantage  of  being  "on 
the  ground"  where  most  technical  de- 
velopments originate  and  to  have  at 
its  disposal  the  large  resources  of 
the  Chicago  long  established  research 
and  engineering  departments. 

Accommodations  for  Public 

A  well  appointed  "shop"  will  take 
care  of  servicing  all  the  company  ma- 
chinery in  use  in  the  Western  terri- 
tory and  will  employ  only  the  most 
skilled  mechanics  thoroughly  versed 
with  the  various  machines,  cameras, 
printers,  splicers,  perforators,  etc., 
manufactured  by  the  company. 

In  addition  to  professional  machin- 
ery the  company  produces  high  grade 
amateur  motion  picture  equipment, 
and  the  amateur  division  in  the  Hol- 
lywood building  will  be  intrusted  with 
servicing  it. 

Projection  and  editing  rooms  will 
be  available  to  the  public,  and  con- 
stant   displays    of    both    professional 


and  amateur  equipment  will  acquaint 
those  interested  in  the  newest  addi- 
tions of  the  company's  products. 

Of  special  interest  to  photographers 
is  the  establishment  of  a  fully 
equipped  lens  testing  department  and 
to  laboratory  experts  of  a  fully 
equipped   printing   room. 

No  expense  will  be  spared  to  make 
this  laboratory,  through  the  help  of 
both  personnel  and  equipment,  one 
of  the  finest  in  the  country. 

At  the  same  time  the  Hollywood 
building  is  being  erected  further  en- 
largements are  being  made  at  the 
Chicago  engineering  plant.  A  story 
is  being  added  to  the  two  already  ex- 
isting, which  soon  will  increase  the 
activities  of  the  Chicago  manufactur- 
ing plant  and  the  New  York  and 
London   branches. 

Ground  for  the  Hollywood  building 
has  been  broken  and  its  occupancy 
is  scheduled  for  early  in  July. 

Joseph  E.  Dubray,  who  for  some 
time  has  been  in  charge  of  the  west 
coast  branch,  will  remain  in  that  ca- 
pacity until  the  new  building  is  en- 
tirely completed  and  the  enlarged  or- 
ganization   functioning    smoothly. 


Dodge  Dunning  left  March  25  for 
London,  where  he  will  supervise  some 
Dunning  Process  work  being  done  at 
one  of  the  large  English  studios.  He 
will  be  gone  several  months. 


The  New  Bell  mid  Howell  Building  in  Hollywood 


April,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


T 'wenty-nine 


Tells  Countrymen  a  Thing  or  Two 


John   Paddy   Carstairs   Describes   How   English 

Studios  May  Profit  by  Going  to  School  to 

Hollywood  Men  and  Methods 


WRITING  from  Hollywood  to 
the  Bioscope  of  London,  and 
where  he  now  is  with  Basil 
Dean,  John  Paddy  Carstairs  suggests 
to  Britain's  producers  and  also  its  en- 
tire film  industry  a  number  of  tricks 
his  countrymen  first  must  master  be- 
fore they  will  meet  Uncle  Sam  on 
the  level  and  unhandicapped  in  the 
fight  for  box  office  patronage. 

"If  we  are  to  put  England  on  the 
Screen  we  must  learn  from  America," 
declares  Carstairs;  "we  must  not  nec- 
essarily imitate  her." 

"Artistically  France,  Japan  and 
Germany  are  probably  ahead  of 
America,"  he  goes  on,  "but  after  all 
it  is  Old  Man  Box  Office  who  counts, 
and  we  have  to  admit  that  America 
knows  a  lot  about  that! 

"England  on  the  screen  with  a 
technique  that  is  an  inferior  imita- 
tion of  Hollywood  will  not  do.  Brit- 
ain must  develop  young  talent;  create 
young  stars,  directors  and  writers. 

"Britain  must  utilize  and  picturize 
the  English  countryside;  the  polish  of 
Picadilly.  Give  America  what  she  ex- 
pects and  make  it  move — serve  it  as 
Americans  like  it  served." 

Ruth  Chatterton  and  Genevieve 
Tobin  head  the  list  of  American  stars 
who  use  an  English  broad  A,  con- 
tinues the  correspondent.  "I  think 
it  is  apparent  that  Americans  do  not 
resent  what  is  called  cultured  Eng- 
lish," he  continues.  "I  found  that 
most  people  liked  it  immensely,  and 
many  were  trying  to  cultivate  it. 
Others  scoff  at  it,  but  have  a  sneaking 
regard  for  it!  English  subjects  and 
English  locale  also  seem  to  hit  them 
in  the  right  place.  I  think  from  the 
top  hat  of  Mayfair  to  the  thatched 
cottage  of  the  little  village  hamlets  the 
English  mode  interests  our  American 
cousins  more  than  they  admit. 

"This  is  probably  true  of  American 
picture  audiences  in  most  places,  and 
this  is  a  pointer  if  British  producers 
are  ready  to  take  note." 

Good    Reporter 

In  the  foregoing  we  have  set  forth 
the  conclusion  of  the  young  man's 
very  interesting  letter.  If  the  Bio- 
scope will  pardon  us  we  would  like  to 
pass  on  to  our  readers  some  of  the 
other  things  jotted  down  by  this  Eng- 
lish visitor  to  Hollywood. 

It  is  doubtful  if  any  of  his  preced- 
ing communicative  fellow-countrymen 
have  possessed  such  a  combination  of 
(1)  antecedent  knowledge  of  studio, 
theatre  and  distribution  in  England; 
of  (2)  actual  experience  in  Hollywood 
picturizing,  and  (3)  the  well-de- 
veloped reporting  instinct  displayed 
by  our  visitor. 


From  this  point  on  and  omitting 
the  running  quotations  Carstairs  is 
doing  the  talking: 

I  hope  these  short  notes  on  the 
Hollywood  system  will  interest  not 
only  producers  but  the  whole  British 
film  industry.  For  they  are  aimed  at 
showing  what  Britain  has  to  contend 
with  in  fighting  America  in  the  mo- 
tion picture  field. 

The  two  greatest  factors  to  be  con- 
sidered in  relation  to  American  film 
progress  are,  in  my  opinion : — 

(1)  Star   System    and 

(2)  Theatre  Circuits. 

After  these  come  such  points  as  pic- 
ture sense;  box  office  appreciation; 
excellence  in  publicity;  and  general 
screen  talent. 

If  Britain  is  to  profit  by  studying 
the  formula  which  has  brought,  and 
is  still  bringing,  success  to  Hollywood, 
first  and  foremost  must  come  the 
question  of  building — that  is  the  right 
word — both  stars  and  theatres.  Eng- 
land must  find  stars,  and  find  them 
soon !  Youth  on  the  screen  is  vital 
if  the  average  British  film  is  to  rival 
the  American  product  in  box  office 
"pep." 

With  the  exception  of  one  or  two 
young  actresses  who,  in  the  recent 
British  films,  have  shown  themselves 
to  be  endowed  with  strong  screen  per- 
sonality and  ability,  Britain  has,  dur- 
ing recent  times,  created — and  added 
to  its  strength — very  little  solid  star- 
ring material. 

The  current  idea  of  importing 
stage  players  with  names  is  a  good 
one  up  to  a  point  if  the  supply  of  such 
talent  offers  the  requisite  quota  of 
youthful  players.     But  does  it? 

The  question  of  creating  stars 
starts  in  Hollywood  in  the  casting  de- 
partment. But  it  does  not  stop  there. 
It  goes  through  the  whole  studio, 
reaching  its  climax  in  a  crescendo  of 
publicity,  which  warms  the  public  not 
only  to  the  goods  that  so  and  so  stu- 
dio has  produced,  but  to  the  human 
starring  material  utilized  in  such  pro- 
duction. This  brings  us  to  another 
point — the  noticeable  spirit  of  co-op- 
eration existing  in  Hollywood  studios. 

There  everyone  helps  everyone  else. 
Electricians,  props  and  directors  seem 
to  be  working  hand  in  hand.  There 
is  also  much  less  antagonistic  attitude 
between  the  production  side  and  the 
artists  in  Hollywood.  It  is  all  very 
sound,  for  you  cannot  expect  good 
results  if  the  camerman  hardly  knows 
the  star. 

From  experience  in  England  I 
found  that  at  times  there  was  a  posi- 
tive  bitterness   between   staff   and   ar- 


tist !     Hollywood  knows  that  co-opera- 
tion brings  good  pictures. 
Colonization 

The  fact  that  in  Hollywood  the  stu- 
dios are  all  within  a  few  miles  of  each 
other  often  proves  very  useful.  The 
interchange  of  "sets"  and  even  tal- 
ent is  a  frequency. 

The  fact  that  a  producer  on  the 
Warner  lot  knows  that  he  can  "bor- 
row" that  ship  set  on  the  Fox  lot  and 
the  Fox  director  knows  he  can  use 
Warner's  ranch  help  tremendously  to 
keep  production  on  prosperous  lines. 
Isolation  in  the  movie  business  is  less 
evident  in  U.  S.  A.  than  in  Britain; 
the  communal  sense  is  more  keenly  de- 
veloped. 

Internal  studio  organization,  too,  is 
remarkable  in  Hollywood.  Britain  is 
getting  on  to  the  right  road,  but  noth- 
ing in  England  can  equal,  for  in- 
stance, the  overhead  track  at  the  Par- 
amount West  Coast  Studio.  It  goes 
all  over  the  lot,  into  all  the  stages 
and  around  the  whole  place,  and 
makes  it  possible  to  build  all  "sets" 
in  a  large  silent  stage,  and  merely 
wheel  them  at  will  into  any  sound 
stage  which  may  be  available — all 
ready  to  assemble! 

Most  Hollywood  studios,  too,  have 
many  cutting  rooms  and  projection 
rooms  as  well  as  final  recording 
rooms. 

A  film  editor  can,  therefore,  go  right 
ahead  with  his  director  and  be  up  to 
date  with  his  cutting;  he  has  his  own 
cutting  room  and  projection  theatre. 
Big  projection  theatres  for  special 
studio  previews  to  executives  are 
found  on  lots  like  Paramount,  United 
Artists  and  First  National. 
Camera  Work 

Then  camera  work:  lighting  .  .  . 
that  vitally  important  thing  in  mod- 
ern picture  making! 

In  Hollywood  the  cameraman  is  an 
important  man,  and  there  no  "rush 
the  cameraman  tactics"  are  employed. 
Lee  Garmes,  ace  cameraman,  who  was 
with  First  National  for  some  years 
(you  probably  remember  that  beauti- 
ful photography  of  "The  Private  Life 
of  Helen  of  Troy"),  was  telling  me 
that  he  has  choice  of  colors  for  his 
sets,  choice  of  colors  and  material 
for  the  artists'  dresses  and  a  final 
say  in  everything  photographic. 

It  is  the  cameraman's  job  to  see 
that  everything  looks  good  on  the 
screen;  if  it  doesn't  he  takes  the  kick. 

But  in  Hollywood  he  knows  that  he 
deserves  it,  for  if  he  does  not  fancy 
anything     photographically,     he     has 
only  to  shout  to  get  it  removed. 
No  More  Punk  Sets 

Excellent  laboratory  work  is  an- 
other reason  for  such  brilliant  cam- 
era work  in  the  States  ....  Has  Brit- 
ain realized  how  important  is  this  side 
of  studio  activity. 

If  a  set  is  supposed  to  represent  a 
bath-room  in  Hollywood   it  is  a  bath- 


Thirty 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  19.31 


room  ....  there  is  no  stage  backing 
or  imitation  about  the  average  set 
today  in  Hollywood  ...  a  door  is  a 
door,  and  it  looks  like  one! 

The  vogue  for  sets  a  la  cinema  is 
no  longer.  These  days  a  good  cam- 
eraman will  light  anything  within 
reason;  the  idea  of  leaving  spaces  for 
lights,  etc.,  has  passed;  the  art  di- 
rector today  knows  that  with  clever 
sets,  a  little  knowledge  or  even  co- 
operation with  the  cameraman,  a  set 
can  almost  z'epresent  a  four-walled 
room. 

At  Paramount  and  Radio  recently 
they  had  two  complete  flats  compris- 
ing every  detail  common  to  the  mod- 
ern flat  and  in  exact  order.  All  the 
rooms  adjoined  in   perfect  order. 

In  "No  Limit,"  Clara  Bow's  next, 
one  set  was  a  replica  of  any  modern 
flat  and  is  built  just  as  solidly  as  a 
great  many. 

Casting  is  also  given  far  more 
serious  and  expert  attention  in  Holly- 
wood than  in  Britain.  Even  the  small- 
est part  is  "in  character"  ....  amaz- 
ing characterization  in  their  picture 
helps  to  give  the  Americans  that 
slickness  and  polish  which  is  so  often 
the  saving  grace  of  otherwise  com- 
monplace pictures. 

And  again,  as  John  Loder  once  re- 
marked to  me,  in  England  all  the  film 
people  "act"  their  parts;  "act"  them 
probably  magnificently,  while  in  the 
States,  they  seem  to  be  in  the  part, 
not  acting  it! 

The  Americans  having  cast  their 
artists   carefully,   know  how   to    "put 


them  over"  with  publicity.  In  this, 
good  photography,  superb  dressing, 
attractive  hair  coiffure,  and  a  thous- 
and and  one  details  of  the  kind,  play 
their  part. 

An  example  of  clever  studio  pub- 
licity was  provided  by  the  handling 
of   Marlene  Dietrich. 

She  was  sold  as  a  box  office  draw 
before  the  release  of  her  picture  in  a 
manner  reflecting  in  credit  and  cash 
upon  those   responsible. 

Directors  and   Writers 

In  Hollywood,  where  the  cream  of 
the  world's  literary  talent  has  been 
whipped  up  of  late,  the  feeling  exists 
that  British  studios  regard  the  scen- 
arist as  "less  than  the  dust."  It  is 
certain  that  almost  anyone  is  allowed 
to  write  British  scenarios  and,  in  one 
or  two  glaring  cases,  story  supervis- 
ion is  in  the  hands  of  people  with 
little  experience  and  still  less  incli- 
nation to  acquire  any. 

The  fact  that  John  Van  Druten, 
Michael  Arlen,  Benn  Levy,  Frederick 
Lonsdale,  to  name  only  a  few,  are  in 
Hollywood  writing  screen  originals,  is 
proof  enough  that  the  stage  play  must 
now  be  very  much  adapted  to  the  me- 
dium of  the  screen  ...  or  not  filmed 
at    all! 

A  few  more  original  stories  with 
some  motion  and  less  inane  chatter 
would  help  a  lot  to  help  forward  the 
British  product  against  that  of  U. 
S.  A. 

Tempo  we  don't  appear  to  under- 
stand; why  talk  about  it? 


Wherein  Comment  Is  Made  Upon  the 
Very  Frank  Remarks  of  Cars  fairs 


AMERICANS  as  well  as  English- 
men may  read  with  profit  the 
letter  of  John  Paddy  Carstairs 
in  the  Bioscope  of  London  of  recent 
date.  They  will  discover  that  John 
Bull  as  always  in  his  long  history 
has  alert  scouts  abroad,  men  with  a 
capacity  for  saying  things  that  may 
prove  to  be  wholesome  even  though 
unpalatable  in  the  taking. 

England  can  take  it  as  well  as  dish 
it  out,  and  by  reason  of  its  ability 
to  do  this  it  is  to  be  respected  and 
perhaps  also  feared.  It  is  not  within 
reason  to  expect  that  indefinitely  Eng- 
land in  a  motion  picture  production 
way  is  to  remain  submerged.  Aside 
from  the  handicap  of  a  northern  cli- 
mate there  is  no  tangible  reason  why 
Americans  living  on  one  side  of  the 
Western  Ocean  should  make  any  bet- 
ter pictures  than  Englishmen  living 
on  the  other.  So  Americans  steadilv 
making  hay  while  the  sun  shines  will 
not  neglect  the  potentialities  of  a 
commercial  set-to  in  which  England 
is  one  of   the   contenders. 

Carstairs  says  England  must  de- 
velop young  talent — stars,  directors 
and  writers.  England  better  go  slow 
on  accepting  that  advice.  In  the  old 
days  England  had  a  habit  of  sending 


over  pictures  with  the  romantic  fem- 
inine roles  filled  by  women  too  ma- 
ture for  the  particular  part.  She  is 
doing  better  now. 

In  America  the  hits  in  the  feminine 
division  are  rarely  made  by  those 
who  cannot  hang  up  at  least  twenty- 
five  birthdays.  Exceptions  there  are, 
of  course,  but  not  sufficient  in  number 
to  get  excited  about,  even  including 
those  accelerated  what  through  cour- 
tesy we  will  call  careers  and  created 
from  various  reasons. 

No    Royal    Road 

Some  writers  and  some  directors 
solemnly  may  assure  you  if  they  re- 
veal what  is  on  their  chests  that  their 
gift  is  God-given  and  that  they  pos- 
sessed it  in  full  flower  even  in  their 
youth.  But  the  wise  old  birds  who 
have  been  through  the  mill  know  that 
each  is  a  trade,  that  of  the  writer 
especially;  that  not  all  of  them  can 
be  a   Dickens. 

Few  writers  make  much  noise  be- 
fore they  are  thirty-five  and  the  ma- 
jority of  the  successful  ones  are  well 
beyond  that. 

Dietrich's    Pre-Publicity 

Carstairs  speaks  of  Marlene  Die- 
trich having  been  sold  as  a  box  office 


draw  before  the  release  of  her  pic- 
ture and  describes  it  as  celevr  studio 
publicity.  It  was  simple  enough.  In 
advance  of  the  release  and  in  con- 
formity with  its  practice  it  showed 
"Morocco"  to  the  west  coast  corre- 
spondents of  trade  papers,  of  fan 
magazines,  of  syndicates,  and  more 
important  than  that  to  the  represen- 
tatives of  the  news  associations,  to 
men  and  women  representing  hun- 
dreds, even  thousands,  of  newspapers. 

All  of  these  individuals  or  a  ma- 
jority of  them  in  their  enthusiasm  at 
the  end  of  the  showing  "tipped  their 
mitt"  to  the  publicity  office.  That 
department  was  confirmed  in  its  own 
opinion  that  "Morocco"  contained 
something  out  of  the  ordinary,  that 
an  unusual  personality  had  crossed 
the  screen  horizon.  The  executives 
were  confirmed  in  their  hopes. 

The  advertising  department  got 
busy  on  a  24-sheet  that  carried  the 
name  of  the  newcomer  and  the  public 
curiosity  was  aroused.  It  happened 
the  picture  made  good  on  the  adver- 
tised thunder.  Dietrich  was  a  sure- 
enough  star,  as  she  never  could  have 
been  had  the  production  proved  a  flop 
in  the  view  of  the  public. 

Incidentally  Elstree's  "Loose  Ends", 
shown  in  Hollywood  in  March,  will 
go  far  to  demonstrate  the  justice 
of  some  of  Carstairs'  restrictions  on 
the  English  studios.  There  was  much 
in  the  picture  that  merited  approval, 
but  as  it  was  attempted  to  point  out 
in  another  column  in  a  review  writ- 
ten before  the  Carstair's  letter  was 
read  there  were  a  number  of  major 
opportunities  overlooked  to  the  det- 
riment of  the  production. 
Cultured   English 

Regarding  the  broad  A  and  pre- 
sumably other  evidences  of  what  some 
will  call  affectation  to  which  Car- 
stairs refers  it  is  possible  and  rather 
likely  he  is  being  "kidded"  when  he 
finds  that  "most  people  liked  it  im- 
mensely and  many  were  trying  to  cul- 
tivate  it." 

The  correspondent  is  right  when  he 
says  he  thinks  "it  is  apparent  that 
Americans  do  not  resent  what  is 
called  cultured  English."  Naturally 
not,  for  that  particular  article  is  not 
a  monopoly  of  one  side  of  the  ocean, 
which  ordinary  construction  of  Car- 
stairs'  remarks   implies  it  is. 

There  is  little  difference  in  the  dia- 
logue of  an  English  actor  of  rank  and 
an  American  actor  of  rank  when  the 
two  are  thrown  into  the  same  com- 
pany. "Cultured  English"  then  is  a 
common  possession.  But  when  an 
American  actor  goes  to  the  extreme 
of  out-Englishing  the  Englishman 
then  an  American  audience  is  likely 
to  squirm — and  certainly  will.  Who- 
ever puts  on  the  linguistic  dog  will  be 
laughed  at. 

But  by  all  means  bring  on  that 
English  thatched  cottage — we  want  to 
see  it  and  we  want  to  see  the  hedges 
and  the  lanes. 

As  to  directors  that  is  something 
else  again.  The  fact  always  remains 
that  given  initial  capacity  for  the 
work,  the  product  of  the  matured 
craftsman  must  be  infinitely  superior 
(Continued  on  Page  33) 


April,   1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-one 


Simplex  Builds  Triple  Lens  Turret 


Assembled  to  Projector  One  May  Be  Used  for 

Silent  or  Disk,  Second  for  Sound  on 

Film  and  Third  for  Wide  Film 


THE  International  Projector  Cor- 
poration announces  the  general 
introduction  of  a  Triple  Lens 
Turret.  This  may  be  easily  and 
quickly  assembled  to  any  Simplex- 
Projector  mechanism.  It  will  at  once 
be  apparent  to  the  projectionist  that 
by  the  use  of  this  turret  all  projec- 
tion problems  affecting  lens  changes 
are  entirely  eliminated,  says  the  com- 
pany. Each  of  the  three  lens  mounts 
may  be  separately  adjusted  both  ver- 
tically and  laterally  and  each  may 
be  separately  focused;  also,  these  lens 
mounts  accommodate  all  makes  and 
focal  lengths  of  lenses  either  half  or 
'quarter  size. 

It  is  only  necessary  to  insert,  ad- 
just and  focus  three  lenses  of  the  de- 
sired focal  lengths  after  which  any 
one  of  the  three  may  be  instantly 
iswung  on  to  the  optical  axis.  One 
lens  of  the  proper  focal  length  may 
be  used  for  silent  or  sound-on-disk 
prints,  the  second  for  sound-on-film, 
and  the  third  for  Magnascope  or  oth- 
,er  types  of  effects. 

Where  sound-on-disk  is  not  in  use 
one  of  the  lens  mounts  may  be 
equipped  for  Magnascope  and  another 
for  some  other  particular  effect,  while 
'the  third  remains  for  sound-on-film 
projection.  It  is  obvious  that  any 
number  of  combinations  of  lenses  may 
be  used  for  different  purposes,  and  it 
becomes  unnecessary  to  slip  lenses  in 
and  out  of  the  mounts  during  an  en- 
tire performance. 

The  turret  proper  is  mounted  in  a 
substantial  frame  on  four  90  degree 
V  grooved  rollers  with  provision  for 
taking  up  all  end  and  radial  play  in 
rollers,  thereby  providing  a  free-turn- 
ing turret  which  is  rigidly  supported 
and  free  from  shake  and  vibration. 
Positive  audible  stops  have  been  pro- 
vided for  each  projection  position  by 
.means  of  index  pins  and  a  tapered 
lock  so  that  normally  but  one  lens  at 
a  time  may  be  swung  into  position. 

Due  to  the  design  of  this  unit  none 
of  the  fire  prevention  devices  has  been 
removed  from  the  mechanism  and  the 
fireproof  properties  of  the  projector 
have  therefore  in  no  way  been  im- 
paired. 

With  the  turret  a  new  film  protector 
and  gate  latch  assembly  are  furnished, 
the  use  of  which  eliminates  the  neces- 
'sity  for  the  projectionist  placing  his 
hand  within  the  mechanism  when  clos- 
ing the  gate  while  threading.  The 
new  lever  release  comes  through  the 
film  protector  and  is  very  handily  lo- 
:ated.  A  mirror  arrangement  is  also 
provided  on  the  rear  of  each  lens 
:hamber  by  means  of  which  the  aper- 
ture may  be  observed  for  checking  up 


on  framing  after  film  is  threaded  in 
place. 

Great  care  has  been  exercised  in  the 
design  of  this  assembly  that  no  diffi- 
culty may  be  experienced  in  attaching 
it  to  the  mechanism,  and  it  is  not  nec- 
essary to  cut  away  any  part  of  the 
mechanism  whatsoever.  The  company 
feels  that  this  turret  assembly  will 
meet  with  the  approval  of  projection- 
ists everywhere,  as  it  gives  them  a 
piece  of  equipment  which  can  be  re- 
lied upon  and  which  eliminates  the 
possibility  of  a  shut-down  where  oc- 
casionally it  may  be  forgotten  to  in- 
sert the  correct  lens  between  reels. 
If  at  any  time  the  wrong  lens  in  the 
turret  should  be  in  front  of  the  aper- 
ture the  correct  one  may  be  swung 
into  operation  in  a  fraction  of  a  sec- 
ond with  hardly  any  perceptible  effect 
upon    the    screen. 

All  half  size  lenses  of  standard  di- 
mensions may  be  readily  inserted  and 
clamped  by  the  entire  inside  diameter 
of  the  mount. 


Madras  city  has  11  permanent  cine- 
mas, of  which  one  is  a  talkie  house. 

The  authorities  consider  the  large 
increase  in  the  number  of  permanent 
and  traveling  cinemas  indicates  the 
Indian  public  is  taking  greater  inter- 
est in  cinemas.  There  has  in  conse- 
quence been  considerable  activity  in 
production,  no  fewer  than  six  com- 
panies having  been  created  in  each 
presidency. 

More  money  is  being  invested  in  the 
industry,  which  is  likely  to  be  a  source 
of  both  profit  and  pleasure  "to  the 
rural  and  urban  population." 


Australia  Creates  First  Talker 

"Talkie  Mad,"  the  first  all  talking 
picture  produced  in  Australia,  has  re- 
cently been  completed  by  Norman 
Dawn.  The  picture,  which  is  a  story 
of  Australians  making  the  first  talkie, 
was  started  in  June,  1930,  but  was 
held  up  by  a  long  spell  of  poor 
weather.  In  addition  defective  parts 
had  to  be  recorded  a  second  time  be- 
fore the  picture  was  completed.  Dis- 
tribution will  probably  be  confined  to 
Australia  at  first,  but  the  outlet  has 
not  been  announced. 


T! 


Increasing  Investments  in 

Motion  Pictures  in  Madras 

'HE  Madras  Government  has  is- 
sued an  interesting  report  on 
the  administration  of  the  Brit- 
ish Cinematograph  act  in  the  Madras 
Presidency  during  the  official  year 
1929-30.  From  this  it  is  learned  there 
are  83  permanent  and  66  traveling 
cinemas    in    the    presidency    and    that 


Lectures  on  Projection 

The  French  Technical  School  of 
Photography  and  Cinematography  has 
been  asked  by  the  Chambre  Syndicale 
and  the  Independent  Exhibitors'  or- 
ganization to  arrange  a  series  of 
twelve  lectures  on  projection  of  talk- 
ers. 

Every  phase  of  film  projection  is 
included  in  the  syllabus,  and  a  suita- 
ble time  has  been  arranged  in  the 
late  afternoon  for  the  delivery  of  lec- 
tures. 


Scene   from    a    society    picture    of    eighteen    years   ago    with    the    participants 

garbed  in  the  fashion  of  the  day.    It  was  mode  by  Messier  Film  of  Berlin  and 

photographed  in  that  city  by  Victor  Scheurich. 


Thirty-two 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  1931 


Curtiss-Wright  to  Give  Course  in 

Air  Photography  in  All  Branches 


TO  BE  prepared  to  supply  the 
increasing  demand  for  aerial 
photographers  the  Curtiss- 
Wright  Flying  Service  has  added  a 
complete  course  in  aerial  photography 
to  those  of  flying  and  aviation  me- 
chanics already  being  taught  by  the 
company  in  Los  Angeles. 

The  instruction  will  start  April  6 
under  the  direction  of  Major  H.  A. 
Erickson.  It  will  include  several 
hours  of  flying  time.  Also  a  number 
of  missions  of  varying  nature  will  be 
assigned  to  the  students. 

The  course  will  include  instructions 
designed  to  qualify  students  in  theory, 
air  work,  laboratory  work,  printing, 
developing  and  enlarging  of  air 
obliques,  mapping,  mosaics,  aerial 
surveys,  etc.  Use  of  the  motion  pic- 
ture camera  in  aerial  photography 
also  will  be  studied. 

The  science  of  aerial  photography 
is  fast  coming  into  its  own,  and  there 
are  many  important  projects  calling 
for  its  use  now  being  carried  out,  with 
others  in  preparation.  One  of  these  is 
the  government's  aim  to  map  the  en- 
tire United  States  from  the  air.  The 
original  plans  contemplated  a  sched- 
ule requiring  eighty-eight  years  for 
its  completion,   but   President   Hoover 


has  given  instructions  the  time  be  re- 
duced to  eighteen  years. 

Some  of  the  Curtiss-Wright  bases 
already  have  done  a  great  deal  of 
work  on  similar  projects,  including 
the  Mississippi  flood  survey.  During 
the  year  just  closed  seven  of  these 
bases  have  completed  $4,000,000  of 
aerial  photographic  work.  Of  course, 
practically  all  of  this  was  for  com- 
mercial concerns  rather  than  for  the 
government. 

L.  M.  Carver,  who  will  have  charge 
of  supplying  information  to  prospec- 
tive students,  said  at  his  office  at  the 
Grand  Central  Air  Terminal  in  Glen- 
dale  that  students  in  aerial  photog- 
raphy who  already  were  photogra- 
phers would  have  a  decided  advan- 
tage over  other  students.  This  would 
apply  even  with  greater  force  to  pho- 
tographers who  also  were  pilots. 

Major  Erickson,  who  will  have 
charge  of  instruction  in  aerial  photog- 
raphy, is  one  of  the  pioneers  in  that 
field  of  work,  having  been  actively  en- 
gaged in  it  since  1911.  His  first  air 
photographs  were  taken  from  an  old 
Curtiss  pusher.  During  the  war  he 
was  in  charge  of  instruction  in  aerial 
photography  at  McCook  field,  Davton, 
Ohio. 


Krows  Writes  "The  Talkies" 

for  Lay  and  Professional 

TO  the  office  of  the  International 
Photographer  there  has  come 
"The  Talkies,"  a  book  by  Ar- 
thur Edwin  Krows,  Henry  Holt  and 
Company,  New  York. 

Written  primarily  for  the  layman 
who  is  interested  in  the  technique  of 
the  modern  screen,  the  book  neverthe- 
less explains  the  various  steps  and 
processes  so  thoroughly  that  the  stu- 
dio technician,  director  and  actor  can- 
not fail  to  profit  by  a  careful  read- 
ing. 

Mr.  Krows  has  chapters  on  various 
methods  of  recording,  theatre  opera- 
tion, cinematography,  analysis  of 
voice  from  both  the  actor's  and  the 
recorder's  standpoint,  satisfactory 
script  writing  and  many  other  vital 
steps  in  the  construction  of  the  mod- 
ern sound  motion  picture. 

Explained  clearly  and  concisely 
with  no  super-technical  phrases,  Mr. 
Krows'  book  places  within  reach  of 
everyone  an  invaluable  review  of  the 
entire  motion  picture  profession. 
From  the  inception  of  each  phase  of 
the  industry  he  has  compiled  a  thor- 
ough treatise  on  essential  and  inter- 
esting details  of  its  growth  through 
the  years  down  to  the  very  latest 
methods  of  talker  production. 

The  book  should  as  thoroughly  sat- 
isfy the  professional  as  it  undoubt- 
edly will  the  general  public.  In  fact 
the  professional  picture  maker  almost 
may  regard  it  as  a  handbook  of  gen- 
eral information.  I.  B.  H. 


"The  only  institution  of  its  kind  in  the  world 


1* 


HIGHLAND   AVENUE   AT    HOLLYWOOD 

BLVD. 

HOLLYWOOD,   CALIF. 

CHICAGO     OFFICE — 444     WEST     GRAND 

AVENUE 

Foreign    Branches 

London,    England:    10    D'Arblay    St. 

Sydney,    Australia:    No.    4-C    Her    Majesty's 
Arcade. 

Manila,  Philippine  Islands:  No.  227  David  St. 

Mexico  City.   Mexico:    Paseo  de  la   Reforma 

36  y... 

Buenos    Aires,    Argentina:     500    Sarmiento. 

Lima,    Peru:    Edificia  Mineria. 

Honolulu,  T.  H.:    720  South  St. 

Johannesburg,    South    Afiica:    Corner    Jou- 
bert  and   Kerk   St. 

Habana,    Cuba 
H-130,  Vedado 


The  members  of  Photographers'  Local  659  individually  unqualifiedly  indorse 

MAX   FACTOR'S   MAKE-UP 


MAX  FACTORS  MAKE-UP  STUDIO 


HOLLYWOOD,  CALIFORNIA 


April,  19S1 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-three 


Wherein  Comment  is  Made 

(Continued  from  Page  SO) 
to   what    it   was    in    his    comparative 
youth. 

Let  the  Britishers  go  slow  on  the 
young  talent  stuff.  There  are  direc- 
tors, good  ones,  around  Hollywood 
who  have  quit  having  birthdays,  and 
as  for  writers  a  dragnet  set  for  forty 
will  catch  a  lot  of  them. 

Carstairs'  reference  to  the  snirit 
of  co-operation  in  Hollywood  studios 
should  interest  the  American  execu- 
tives and  stockholders.  Probably  many 
of  them  have  no  knowledge  that  such 
is  a  fact. 

The  Englishman's  declaration  that 
you  cannot  expect  good  results  if  the 
cameraman  hardly  knows  the  star 
will  cause  a  smile  among  the  wise 
ones.  The  star,  too,  will  come  for- 
ward with  the  suggestion  that  with- 
out the  "kind  ministrations"  of  the 
cameraman,  as  one  Boston  writer  ex- 
pressed it,  indeed  she  would  be  hope- 
lessly undone. 

Minus  that  touch  here  and  that 
touch  there  with  lights  and  angles 
she  might  on  the  screen  no  longer 
be  the  howling  beauty  she  is  rated 
by  the  public  but  merely  the  every- 
day looker  she  is  known  to  be  off  of  it. 
Your  honest  to  goodness  feminine 
screen  star  may  quarrel  with  her 
'husband  or  her  employer  or  her  di- 
'  rector,  but  not  with  the  man  she 
trusts  to  bring  to  her  fortunes  all  the 
knowledge  and  skill  he  has  accumu- 
lated through  the   years. 

The  Actor  Who  "Acts" 

The  allusion  to  Paramount's  over- 
head track  will  warm  the  cockles  of 
Studio  Manager  Frank  Brandow's 
:  heart.  That  track  is  his  baby.  It 
'has  been  in  operation  about  two  years 
and  is  one  of  the  outstanding  exam- 
ples of  the  "machine  age"  in  studio 
equipment. 

The   criticism    of    John    Loder    that 
in    England    the    film    players     "act" 
their  parts  might  have   been  laid  at 
|  the  door  of  American  screen  players 
in  the  early  days,  say  twenty  years 
ago.     Arthur   Johnson  of  Lubin   was 
one    of    the    early    exemplars    of    the 
naturalistic  actor  for  the  screen.  Ar- 
thur Mackley  of  Essanay,  he  who  cre- 
ated    the     western     sheriff     for     the 
screen,  was  another  whose  work  stood 
out   above    that   of   the   multitude    of 
early   performers    before   the   camera. 
It  was  a  belief  in  the  beginning  of 
1  the   screen    that   by   reason    of   being 
1  deprived  of  the  voice  it  was  necessary 
to   accentuate   the   action   in   order   to 
overcome  the  handicap.     Johnson  and 
Mackley,    both    now    dead,    were    dis- 
ciples of  the  opposition. 


Colombia  Reports  Gains  in 

Equipment  and  Film  Quality 

INSTALLATION  of  sound  equip- 
ment in  many  theatres  and  better 
distribution  of  American  motion 
pictures  stimulated  the  motion  pic- 
ture business  in  Colombia  in  1930,  ac- 
cording to  Commercial  Attache  Wal- 
ter J.  Donnelly,  Bogota,  Colombia. 
The  improved  quality  of  motion  pic- 
tures  attracted   larger  audiences   and 


brought  about  the  erection  of  several 
new  theatres. 

That  Colombians  are  real  motion 
picture  enthusiasts  is  evidenced  by 
the  increasing  patronage  of  practi- 
cally all  of  the  theatres,  even  at  high 
prices   that   prevailed   last   year. 


from  Hollywood"  and  the  other  will 
be  "Color  Magazine  of  the  Screen." 
Welsh  will  direct. 


Color  TSovelties  by  Welshay 

Robert  E.  Welsh,  former  general 
manager  of  Universal  studio,  and 
Frank  Shea,  former  vice  president  of 
Pathe  International  and  later  west- 
ern division  manager  for  RKO,  have 
organized  the  Welshay  corporation 
for  the  production  of  two  brands  of 
single-reel  Technicolor  novelties,  re- 
leasing twelve  of  each  annually. 

The  first  series  is  "Beauty  Secrets 


Paramount  Buying  Equipment 

Resumption  of  activity  in  the  mo- 
tion picture  studios  is  indicated  by 
the  purchase  by  Paramount  of  175 
additional  Laco  Lites,  bringing  that 
company's  supply  of  that  brand  to 
more  than  500  units. 

According  to  Chief  Electrician  Earl 
Miller  these  lights  have  been  adopted 
as  standard  equipment  by  Paramount, 
due  to  their  ability  to  meet  that  or- 
ganization's requirements. 

Paramount  is  the  second  company 
within  recent  weeks  to  augment  its 
stock  of  Laco  lamps,  Radio  having  in- 
stalled more  than  100  similar  units. 


Practical 


Portable 


Audio-Camex 
Sound-on-Film  Recording 

System 


Sole  Distributors  for  This  System 


Thirty-four 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  I9.il 


Film  Daily's  Year  Book  Contains 
Increasing  Array  of  Trade  Facts 


The  thirteenth  annual  Film  Daily 
Year  Book  tells  the  story  of  a  year's 
accomplishment  and  nrogress  in  the 
motion   picture  industry. 

The  start  for  1931  is  unusually 
promising,  getting  off  on  a  saner  and 
safer  basis  of  operation  than  at  any 
time  during-  the  past  ten  years,  ac- 
cording to  the  predictions  of  the  in- 
dustry's leaders. 


The  daily  happenings  of  the  year 
are  recorded  in  chronological  order. 
A  total  of  11,950  titles  represent  the 
pictures  released  between  Jaunary, 
1915,  and  December,  1930.  Also  the 
ten  best  picture  selections  of  the  past 
eight  years  will  provide  interesting- 
entertainment  as  an  indication  of  the 
trend  in  public  taste  in  types  of  pic- 
tures,  stars  and   directors. 


Laura  LaPlanle  and  Harry  Meyers  in  "Meet 
the  Wife"  --  Produced  by  Christie  .  at  Met- 
ropolitan Sound  Studios  .  .  Directed  by  A. 
Leslie  Pearce.    Released  through  Columbia. 


Mole-Richardson 

Products 

arc  lighting  the  set 

and 

taking  the  sound. 


The  finest  lighting  and  sound 
equipment  it  is  possible  to  buy 
is  working  on  this  set  -  -  -  much 
to  the  satisfaction  of  cinemato- 
graphers,  sound  engineers,  and 
electricians.  These  gentlemen 
work  better  with  Mole-Richard- 
son products  for  they  know  that 
their  efforts  will  be  reflected  in 
the  technical  perfection  of  the 
production. 

MOLE- RICHARDSON,  INC. 

941  NORTH  SYCAMORE  AVENUE 
HOLLYWOOD,     CALIFORNIA 

If     It     Isn't     An 


It  Isn't  An   Inkie. 


Several  individual  and  distinctive 
accomplishments  are  credited  to  1930. 
The  transition  from  silent  to  sound 
pictures  was  successfully  negotiated 
with  the  talker  now  grown  up  and 
sophisticated  at  a  cost  of  more  than 
$500,000,000  in  new  capital.  It's  a  lot 
of  money,  even  if  it  didn't  really  cost 
all  that. 

There  were  six  releases  of  color 
wide  film,  and  the  first  public  broad- 
cast of  television  occurred  on  May  22, 
1930,  at  the  RKO-Proctor  Theater, 
Schenectady,  N.  Y. 


STATEMENT   OF   THE    OWNERSHIP,   MAN- 
AGEMENT, CIRCULATION,   ETC.,  RE- 
QUIRED BY  THE  ACT  OP  CON- 
GRESS OF  AUGUST  24,  1912, 

Of  the  International  Photographer,  published 
monthly  at  Los  Angeles,  California,  for  April 
1,    1931. 

State  of  California,  County  of  Los  Angeles-ss. 

Before  me,  a  Notary  Public  in  and  for  the 
State  and  county  aforesaid,  personally  ap- 
peared George  Blaisdell,  who,  having  been  duly 
sworn  according  to  law,  deposes  and  says  that 
he  is  the  Editor  of  the  International  Photog- 
rapher, and  that  the  following  is,  to  the  best 
of  his  knowledge  and  belief,  a  true  statement 
of  the  ownership,  management  (and  if  a  daily 
paper,  the  circulation  I,  etc.,  of  the  aforesaid 
publication  for  the  date  shown  in  the  above 
caption,  required  by  the  Act  of  August  24, 
1912,  embodied  in  section  411,  Postal  Laws 
and  Regulations,  printed  on  the  reverse  of 
this  form,   to   wit : 

1.  That  the  names  and  addresses  of  the 
publisher,  editor,  managing  editor,  and  the 
business  managers  are :  Publisher,  Interna- 
tional Photographers,  Los  Angeles,  California; 
Editor,  George  Blaisdell,  Los  Angeles,  Califor- 
nia ;  Managing  Editor,  none ;  Business  Man- 
ager, George  Blaisdell,  Los  Angeles,  Cali- 
fornia. 

2.  That  the  owner  is:  (If  owned  by  a  cor- 
poration, its  name  and  address  must  be  stated 
and  also  immediately  thereunder  the  names 
and  addresses  of  stockholders  owning  or  hold- 
ing one  per  cent  or  more  of  total  amount  of 
stock.  If  not  owned  by  a  corporation,  the 
names  and  addresses  of  the  individual  owners 
must  be  given.  If  owned  by  a  firm,  com- 
pany, or  other  unincorporated  concern,  its 
name  and  address,  as  well  as  those  of  each 
individual  member,  must  be  given.)  Interna- 
tional Photographers,  Local  659,  International 
Alliance  of  Theatrical  Stage  Employees  and 
Moving  Picture  Operators  of  the  United  States 
and  Canada,  1605  North  Cahuenga  Ave.,  Hol- 
lywood, California;  President,  Alvin  Wyckoff : 
First  Vice-President,  Roy  H.  Klaffki ;  Second 
Vice-President,  Ira  Morgan  ;  Third  Vice-Presi- 
dent, Archie  Stout  ;  Recording  Secretary,  Ar- 
thus  Reeves  ;  Financial  Secretary,  Ira  B.  Hoke; 
Treasurer,  Charles  P.  Boyle ;  Sergeant-at- 
Arms,  Len  Powers.  The  address  of  all  the 
foregoing  is  at  1605  North  Cahuenga  Avenue, 
Hollywood,   California. 

3.  That  the  known  bondholders,  mortgagees, 
and  other  security  holders  owning  or  holding 
1  per  cent  or  more  of  total  amount  of  bonds, 
mortgages,  or  other  securities  are :     None. 

4.  That  the  two  paragraphs  next  above, 
giving  the  names  of  the  owners,  stockholders, 
and  security  holders,  if  any,  contain  not  only 
the  list  of  stockholders  and  security  holders  as 
they  appear  upon  the  books  of  the  company 
but  also,  in  cases  where  the  stockholder  or 
security  holder  appears  upon  the  books  of  the 
company  as  trustee  or  in  any  other  fiduciary 
relation,  the  name  of  the  person  or  corporation 
for  whom  such  trustee  is  acting,  is  given  ;  also 
that  the  said  two  paragraphs  contain  state- 
ments embracing  affiant's  full  knowledge  and 
belief  as  to  the  circumstances  and  conditions 
under  which  stockholders  and  security  holders 
who  do  not  appear  upon  the  books  of  the  com- 
pany as  trustees,  hold  stock  and  securities  in 
a  capacity  other  than  that  of  a  bona  fide 
owner ;  and  this  affiant  has  no  reason  to  be- 
lieve that  any  other  person,  association,  or 
corporation  has  any  interest  direct  or  indirect 
in  the  said  stock,  bonds,  or  other  securities 
than   as   so  stated  by  him. 

GEORGE   BLAISDELL,  Editor. 
Sworn  to  and  subscribed  before  me  this  24th 
day  of  March.   1931. 

(Seal)  HOWARD  E.   HURD. 

(My  commission   expires   Dee.   14,   1932.) 


April,  19.il 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-five 


Herrmann 's  Calif  or 
No  Hit  Up 


WHEN  John  L.  Herrmann,  Para- 
mount Sound  News  man,  left 
California  around  New  Year's 
en  route  to  Minneapolis  for  the  pur- 
pose of  recording  winter  sports  and 
dog  derbies  it  seems  he  took  his 
weather  with  him.  It  was  not  the  kind 
he  craved  at  all.  With  the  accom- 
panying temperature  there  was  noth- 
ing in  common  with  the  camera  of 
Pvrd  and  south  pole  antecedents 
Herrmann's  fine  sense  of  prevision 
had  impelled  him  to  bring  along  in 
order  to  be  the  better  fortified  against 
sub-zero  drops  into  the  roaring  forties. 

His  prepardness  was  quite  unnec- 
essary. In  Minneapolis  the  mild  win- 
ter fractured  records  right  and  left, 
the  reading  of  59.5  above  zero  being- 
January's  highest  for  forty  years. 
The  months  lowest  was  5  below. 

While  the  temperature  was  around 
40  above  one  of  the  local  theatres 
planned  a  stunt  with  an  iceboat  and 
six  girls  in  bathing  suits.  The  half 
dozen  femmes  were  to  be  recruited 
from  the  chorus  of  the  theatre.  On 
the  day  the  stunt  was  to  be  put  over 
the  temperature  took  a  flop  to  28,  or 
four  degrees  below  the  freezing  point. 

Three  of  the  girls  decided  bathing- 
suits  and  iceboats  did  not  look  so  good 
to  them.  An  SOS  to  a  sorority  house 
at  the  Universitv  of  Minnesota 
brought  a  response  from  a  trio  of 
volunteers,  and  the  stunt  was  put  on. 

It  was  found  the  girls  could  work 
only  from  two  to  four  minutes  at  a 
time,  due  to  the  cold,  at  the  end  of 
which  period  they  would  be  bundled 
in  blankets  and  placed  in  heated  cars. 
When  thawed  out  they  would  return 
to  the  battle. 

On  the  left  will  be  seen  a  flash  of 
the  "works,"  with  the  six  girls  pretty 
much  unprotected  from  the  weather, 
with  blankets  and  sound  boxes  cover- 
ing the  ice;  three  male  persons  pretty 
much  protected  from  anything  in  the 
way  of  weather,  reading  from  left  to 
right,  George  L.  Graham,  sound  man, 
of  Local  666;  the  skipper  of  the  Lake 
Calhoun    iceboat,    and    on    the    right 


nia  Weather  Makes 
Minneapolis  Way 


Photographer    Herrmann,    659,    with 
his  sound  wagon  and  camera. 

On  the  right  of  the  layout  will  be 
seen  the  picture  as  it  was  recorded 
for  the  screen. 


Traveling  Sound  on  Film 

Is  Acclaimed  in   Bolivia 

EARLY  in  December,  1930,  a  trav- 
eling talking  picture  company 
opened  in  La  Paz  for  a  short 
engagement  and  then  proceeded  to 
the  other  cities  of  Bolivia.  For  the 
first  time  there  were  exhibited  in 
Bolivia  talking  films  with  the  sound 
recording  a  part  of  the  film  rather 
than  on  separate  disks.  The  pictures 
were   enthusiastically   received. 

On     November    25,     1930,     an     an- 
nouncement    appeared     in     La     Paz 


newspapers  to  the  effect  that  the 
Teatro  Princesa  of  La  Paz  was  mak- 
ing preparations  for  the  installation 
of  American  sound  picture  equipment 
early  in   1931. 

The  Princesa  is  managed  by  Sr. 
Andino,  who  also  manages  a  string  of 
theatres  in  Oruro,  Cochabamba  and 
smaller  cities  of  the  republic,  and  if 
the  Princesa  installation  proves  pop- 
ular it  is  likely  sound  picture  equip- 
ment will  be  installed  in  the  other 
theaters  of  the  chain. 

The  announcement  was  made  in 
August,  1930,  that  a  large  American 
film  corporation  intended  to  construct 
a  theater  for  the  exhibition  of  its 
sound  pictures  in  Bolivia.  The  proj- 
ect has  evidently  been  abandoned. 


Japan  Censors  Home  Product 

According  to  statistics  issued  by 
the  Japanese  Department  of  Home 
Affairs,  the  authorities  during  the 
first  ten  months  of  1930  censored 
13,548  reels  of  film,  the  total  length 
being  14,527,258  meters,  according  to 
Trade  Commissioner   Steintorf. 


DUNNING 


rocess  torn 


c 


pany 


A  FEW  CURRENT  AND   FUTURE   RELEASES  CONTAINING 
DUNNING  SHOTS 

"Connecticut   Yankee"  .....  Fox 

"Body    and    Soul"      .......      Fox 

"White   Shoulders" RKO 

"SUBWAY  EXPRESS" Columbia 

(This    picture    entirely   photographed    by    Dunning    Process.) 
Our  projection  room  for  demonstration  of  Process  is  at  your  disposal. 

"You   Shoot  Today — Screen  Tomorrow" 
932  No.  La  Brea  Ave  GL  3959  Hollywood,  Calif. 


Thirty-six 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  1931 


Now  We'll  Have  a  Manless  Picture 


WE  ARE  going-  to  have  a  mo- 
tion picture  that  will  come 
nearer  being  an  Adamless 
Eden  than  anything  yet  seen  on  the 
screen.  There  is  not  even  a  lone  male 
in  the  cast.  It's  title  will  be  "Mad 
Parade,"  and  it  is  being  produced  by 
Liberty  Productions  under  the  super- 
vision of  H.  M.  Gumbin  at  the  Metro- 
politan Studio. 

The  tale  is  from  a  stage  play  writ- 
ten by  Gertrude  Orr  and  Dorris  Mai- 


loy,  both  of  whom  in  active  service 
faced  shell  fire  in  the  Argonne. 

In  the  feminine  part  of  the  layout, 
reading  from  right  to  left,  are  Eve- 
lyn Brent,  Lilyan  Tashman,  Irene 
Rich,  Louise  Fazenda,  Fritzi  Ridge- 
way,  Marceline  Day,  June  Clyde, 
Elizabeth  Keating  and  Helen  Keat- 
ing. 

In  the  masculine  circle,  in  the  up- 
per row  and  reading  from  left  to 
right,  are  Harold  Graham,  Dean  Dailj- 


and  James  Higgins,  assistant  cam- 
eramen; middle  row,  Glenn  R.  Kersh- 
ner,  Ernie  Miller  and  Charles  Van 
Enger  (Chief),  cameramen;  lower 
row,  Gene  Anderson,  assistant  direc- 
tor; William  Beaudine,  director,  and 
Oliver  Sigurdson,  stillman. 

Yes,   had    it   been   a    dance   there'd 
been  no  wallflowers.     Count  'em! 


Threaten  German  Monopoly 

with  New  Sound  on  Film 

By  Fritz  Mann  in  London  Bioscope 

OSCAR  MESSTER'S  forecast  that 
the  year  1931  was  to  bring  sen- 
sational developments  in  the 
"talker"  field  seems  already  to  be  prov- 
ing true. 

I  hear  from  well-informed  technical 
authorities  that  very  shortly  a  new 
"talker"  camera  will  be  placed  on  the 
market  by  a  leading  German  technical 
concern  which  will  work  on  an  entirely 
new  system. 

The  system  is  based  on  the  sound- 
on-film  process.  Actual  technical  de- 
tails are  being  closely  guarded  be- 
cause several  questions  concerning  the 
exploitation  of  the  invention  are  still 
to  be  settled.  The  patent  itself  is  said 
to  be  unassailable. 

The  appearance  of  a  new  recording 
equipment  would,  of  course,  revolu- 
tionize the  production  of  talkers,  and 
the  present  monopoly  of  Klangfilm- 
Tobis  and  Western  Electric  would  al- 
most certainly  be  affected.  The  ma- 
chine is  to  be  exploited  at  home  and 
in  foreign  countries.  Patents  are 
already  registered  in  the  different 
countries. 


Photophone  in  Europe 

Henry  Edwards  and  W.  Norman, 
identified  with  motion  picture  activi- 
ties in  England  for  many  years,  are 
installing  RCA  Photophone  recording 
and  reproducing  equipment  in  their 
recently  acquired  studio  at  Tedding- 
ton.  They  will  produce  feature  pic- 
tures and  short  sound  subjects  with- 
in a  few  weeks. 

There  are  now  eight  Photophone  re- 
cording licensees  in  England  and  a 
total  of  thirteen  licensees  in  Europe, 
including  studios  in  France  and  Italy. 


DU  CW*Q^E  FILM  SYSTEM 


6723  San ta'Monica Blvd. 


Hollywood,  Calif? 


Red 
Ortho 


Front 

Negat 


lve 


Red 

ORTHO  / 


PAnchao- 
Matic 


SPECIALISTS  IN  FILM  FOR  COLOR 
AND   PROCESS  PHOTOGRAPHY 

Producers  Make  Their  Own  Color  Selec- 
tion Negatives  with  Their  Own  Cameras 

SOLD  BY  SMITH  &  ALLER,    HOLLYWOOD,    CALIF. 
DU  PONT-PATHE  FILM  MFG.  CO.,  NEW  YORK,  N.  Y. 


April,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-seven 


Funeral  of  Fogel,  Widely  Honored 
Theatrical  Man,  Largely  Attended 


TAKE  FOGEL,  formerly  president 
I  of  Local  33,  I.A.T.S.E.,  died  at  his 
J  home  in  Los  Angeles,  February 
26.  Mr.  Fogel  was  born  in  San  Fran- 
cisco sixty-one  years  ago.  In  his  youth 
he  formed  friendships  with  David 
Warfield  and  Jack  London  and  with 
Warfield  as  boys  sold  matches  on  the 
(streets.  In  his  effects  he  left  many 
souvenirs  of  the  regard  of  Jack  Lon- 
don received  from  all  over  the  world. 
As  a  youth,  Fogel  joined  a  circus  and 
iwith  it  remained  for  twenty  years. 

He  was  stage  manager  of  the  Be- 
lasco  Theater  in  San  Francisco  and 
then  of  the  old  Burbank  of  Los  An- 
geles. The  latter  house  was  at  that 
stage  of  its  career  in  which  there  ap- 
peared consecutively  as  feature  play- 
ers Lewis  Stone,  Forrest  Stanley  and 
Richard  Dix. 

In  more  recent  years  Mr.  Fogel  had 
devoted  his  time  to  Masonic  activities. 
He  was  a  member  and  past  master  of 
Silver  Trowel  Lodge  415.  Practically 
all  the  prominent  screen  players  in 
Hollywood  as  well  as  many  executives 
:and  others  who  sought  Masonic  in- 
jstruction  were  coached  by  him  in  fun- 
damentals. Among  this  number  were 
Douglas  Fairbanks,  Harold  Lloyd, 
Monte  Blue,  Kenneth  Harlan,  Hoot 
Gibson,  Jean  Hersholt,  Ray  Hatton, 
Wallace  Beery,  Frank  Borzage,  Lewis 
Stone,  Douglas  MacLean,  Harold  B. 
Franklin  and  J.  J.  Franklin. 

The  funeral  was  one  of  the  most 
i largely  attended  by  amusement  men  in 
many  years.  At  the  services,  which 
were  presided  over  by  Rabbi  Edgar 
Magnin,  a  nephew  of  Mr.  Fogel, 
Monte  Blue  spoke  eloquently  and  feel- 
ingly of  the  man  who  had  passed. 
There  was  a  beautiful  floral  wreath 
from  Fairbanks  ordered  by  cable  from 
Asia. 

Mr.  Fogel  left  three  sons,  Irving  J., 


who  conducts  an  electrical  transcrip- 
tion business  in  Hollywood;  Mike,  who 
is  in  the  South  Seas,  and  William, 
who  lives  in   Chicago. 


To  Exhibit  New  Apparatus 

At  Engineers'1  Convention 

FOR  the  spring  meeting  in  Holly- 
wood of  the  Society  of  Motion  Pic- 
ture Engineers  arrangements  are 
being  made  for  an  exhibition  of  new- 
ly developed  motion  picture  appara- 
tus, in  order  better  to  acquaint  the 
motion  picture  engineer  with  the 
newly  devised  tools  which  may  be  of 
value  to   him. 

This  will  not  be  of  the  same  nature 
as  the  usual  trade  exhibit.  There 
will  be  no  booths,  although  each  ex- 
hibit will  be  allotted  definite  space  by 
the  Exhibits  Committee,  and  all  ex- 
hibits will  be  arranged  in  one  large 
room.  The  following  regulations  will 
apply: 

1.  The  apparatus  to  be  exhibited 
must  be  new  or  have  been  developed 
or  improved  within  the  past  twelve 
months. 

2.  No  pamphlets  or  advertising  lit- 
erature will  be  permitted. 

3.  Each  exhibitor  will  be  permitted 
to  display  one  small  card  giving  the 
name  of  the  manufacturing  concert! 
and  each  piece  of  equipment  shall  be 
labeled  with  a  plain  label  free  from 
the  name  of  the  manufacturer. 

4.  A  technical  expert  capable  of  ex- 
plaining the  technical  features  of  the 
apparatus  exhibited  must  be  present 
during  the   period  of  the  exhibition. 

5.  The  hours  of  the  exhibition  will 
be  determined  by  the  apparatus  ex- 
hibits committee  and  the  exhibits  will 
be  closed  during  the  papers   sessions. 

6.  All  exhibition  space  will  be  fur- 
nished  gratis. 


Bobby  Jones  swings  into  his  first 
smack  as  a  screen  star.  Director 
George.  Marshall,  who  knows  a  thing 
or  two  himself  about  this  golf  stuff, 
is  the  seated  spectator.  A  Mole-Rich- 
ardson boom  supports  the  mike  that 
receives  the  sounds.  It  is  not  every 
golfer  who  could  take  a  chance  on 
having  recorded  on  film,  not  only  his 
shot  but  his  language  also 

7.  The  apparatus  to  be  exhibited 
will  be  censored  by  the  apparatus  ex- 
hibits committee  to  insure  that  this 
is  essentially  new  as  described  under 
Item  1. 

Please  make  requests  for  space  di- 
rect to  the  editor-manager  at  the  gen- 
eral offices,  33  West  Forty-second 
street,  New  York,  stating  the  num- 
ber and  nature  of  the  items  to  be  ex- 
hibited. 


W  illiamson  Is  Busy 

According  to  a  press  item  William- 
son Films  (N.  Z.)  Limited  has  com- 
pleted negotiations  for  the  control  of 
three  more  theatres  in  the  South  Is- 
land, according  to  Trade  Commis- 
sioner Julian  B.  Foster,  Wellington, 
New  Zealand.  The  lease  of  a  fourth 
is   under   consideration. 


ROY  DAVIDGE  FILM 
LABORATORIES 


An  Exclusive  "Daily" Laboratory 

Quality   and   Service 

6701-6715       SANTA     MONICA       BOULEVARD 

GRanite     3108 


Thirty-eight 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  19.il 


Looking  In  on  Just  a  Few  Nezv  Ones 


(Continued  from  Page  2b) 


the  selection  of  Reri  lies  in  the  fact 
she  is  in  love  with  Matahi — she  does 
not  want  to  be  the  chosen  one. 

Matahi  kidnaps  Reri  and  takes  her 
to  a  distant  island.  The  chiefs  with 
religious  perseverance  seek  the  girl, 
over  whose  head  grim  tragedy  seems 
always  to  be  hanging.  That  in  the 
end  the  blow  falls  is  simply  the  reali- 
zation of  the  anticipated — but  the 
tragedy  is  of  wider  scope  than  fore- 
seen. The  Old  Warrior  is  a  merciless, 
relentless  and  unmovable  ruler — he 
knows  only  his  duty  as  he  sees  it. 

The  general  atmosphere  of  "Tabu" 
is  one  of  unusual  novelty,  of  genuine 
entertainment.  It  is  not  a  sound  pic- 
ture in  the  true  sense,  but  as  a  sub- 
stitute there  is  a  musical  setting  by 
Hugo  Riesenfeld  which  will  go  far  to 
make  up  for  the  absence  of  the  sound 
truck. 

The  subject  was  directed  by  Mur- 
nau,  and  the  touch  of  the  skillful  hand 
is  evident  all  through  the  picture — 
something  rare  in  South  Sea  Island 
screen  stories. 


UNFAITHFUL 

Charles  Lang,  Cameraman 

AN  ENTERTAINING  picture  is 
Paramount's  "Unfaithful,"  di- 
rected by  John  Cromwell,  h: 
spite  of  an  absence  of  coherence  in  its 
earlier  stages;  and  further  and  em- 
phatically in  spite  of  Ruth  Chatter- 
ton  in  the  role  of  the  only  American 
woman  in  a  cast  of  all-English  men 
and  women  and  in  an  English  locale 
insisting  on  out-Englishing  in  speech 
all  her  fellow-players. 

It  may  be  said  of  the  others  in  the 
cast  the  locale  might  have  been  the 
United  States  and  the  characters  na- 
tive to  the  soil,  but  their  reading  of 
their  lines  would  have  given  entire 
satisfaction.  And  it  is  entirely  proba- 
ble Englishmen  in  England  will  ac- 
cept the  present  reading. 

It  is  not  a  matter  of  surprise  Miss 
Chatterton  should  impose  upon  her 
screen  auditors  what  many  of  them 
will  characterize  as  stage  affectation 
or  subservience  to  a  tradition  created 


by  a  few  stage  directors  in  London 
and  fostered  in  large  part  by  so- 
called  Americans  convinced  that  if 
anything  is  native  to  their  own  soil  it 
can't  be  the  best.  But  it  is  surpris- 
ing even  a  stage  director  hardly  yet 
a  seasoned  screen  director  should  let 
her  get  away  with  it. 

Miss  Chatterton  has  her  partisans, 
militant  ones,  on  this  speech  stuff. 
With  one  of  these  this  writer  eats 
breakfast.  Another  helps  make  this 
magazine.    So  maybe  that's  that. 

The  story  is  of  high  society,  of  the 
titled  kind,  which  for  those  who,  like 
Tommy,  "dearly  love  a  lord,"  should 
make  a  fine  start.  It  opens  with  the 
wedding  of  the  American  woman  with 
the  titled  Kilkerry,  described  as  one 
of  the  finest  and  most  popular  men  in 
England. 

The  plot  turns  on  the  gradual  rev- 
elation to  the  bride  that  her  husband 
long  has  been  intimate  with  Gemma, 
wife  of  the  bride's  brother,  and  that 
the  relation  continues.  To  name  the 
woman  would  be  to  destroy  her 
brother,  the  bride  is  convinced,  as  she 
is  certain  tragedy  would  follow  ex- 
posure. 

The  bride  "takes  her  medicine"  like 
a  good  sport.  She  seeks  diversion  in 
travel  and  in  bizarre  doings.  It  is 
while  engaged  in  one  of  these  divert- 
ing occasions  she  meets  Heiden,  finely 
played  by  Paul  Lukas.  It  results  in 
friendship  which  if  it  fail  to  reach 
triangular  dimensions  nevertheless  is 
exceedingly  strong. 

The  puzzled  Heiden  does  his  utmost 
to  unravel  the  mystery  of  the  unhap- 
piness  of  this  woman  seemingly  mar- 
ried to  one  of  the  best  of  fellows.  It 
is  when  he  is  near  success  that  an 
automobile  accident  resolves  the  prob- 
lem. 

The  closing  reel  of  the  story  is 
heavily  charged  with  drama  and 
tragedy  and  suspense,  with  the  wife 
protecting  the  identity  of  the  woman 
fleeing  with  Kilkerry  even  going  so 
far  as  to  insist  that  instead  of  it  be- 
ing Gemma  it  was  herself  who  was  in 
the  car  when  it  overturned. 

Paul    Kavanagh    has    the    part    of 


Kilkerry  and  Juliette  Compton  is 
Gemma  —  characterizations  well 
drawn. 

John  Van  Druten  is  credited  with 
the  story  and  dialogue  and  Eve  Un- 
sell  with  the  scenario. 

If  it  means  anything  to  anybody 
the  picture  was  held  over  in  Los  An- 
geles. 


Cunningham  With  Mirror 

Ted  Cunningham,  for  three  years 
manager  of  the  Filmarte  in  Holly- 
wood, has  been  placed  at  the  head 
of  the  Mirror  Theater,  formerly 
the  legitimate  Vine  Street  Theater. 
The  Mirror  after  extensive  alterations 
was  opened  March  11,  under  a  policy 
of  25  cents  top  admission. 

Fred  Budrow,  for  ten  years  with 
Hollywood  Theaters  as  organist  and 
in  other  capacities,  succeeds  as  mana- 
ger of  the  Filmarte. 


Howell  in  Hollywood 

Albert  S.  Howell  of  Bell  and 
Howell,  Chicago,  made  a  hurried  visit 
of  a  few  days  in  Hollywood  during 
March.  He  will  return  for  a  longer 
stay  in  April. 


Cooper  Mends  Break 

James  Cooper,  after  being  laid  up 
six  weeks,  due  to  a  broken  vertebra, 
is  back  at  his  desk  in  the  office  of 
Dunning  Process. 


Turn  your  scrap  film  and  short 
ends  into  cash 

HORSLEY  CHEMICAL 
COMPANY 

1123  Lillian  Way      GLadstone  5490 
Hollywood 


Dr.  G.  Floyd  Jackman 

DENTIST 

Member   Local   No.    659 

706    Hollywood    First    National    Bldg. 
Hollywood   Blvd.   at   Highland   Ave. 


GLadstone   7507  Hours: 

And    by   Appointment 


9   to   5 


King  Charney  says . . . 

WHETHER  IT  BE  CARBON  OR  INCANDESCENT  LIGHTING 
WHETHER  IT  BE  TALKIES  OR  SILENT 


Insist 
Upon 


j4 


Negative 


For  definite  results 

AGFA  RAW  FILM  CORPORATION 


April,  19.31 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-nine 


NEW 

Trueball 

Tripod  Heads 

Due  to   use  of  alloy   weight 
reduced  to  20  pounds 


MODEL   B 

Their  use  for  follow  shots  assures 
smooth  operation,  having  an  equal  ten- 
sion on  all  movements.  Also,  their 
action    is     unaffected     by     temperature. 

Fred  Hoefner 

Cinema  Machine   Shop 

5319   Santa   Monica   Blvd. 

GLadstone  0243  Los  Angeles 


-v 


Fl8 

ebq^     F;2.3 

RACORPORAIION 
665  NORTH  ROBERTSON  BOULEVARD 

WEST  H0UYW00D  CALK. 


Cameras 
Lenses 


GUARANTEED 

To  Gtv£  Resui-rr  ' 

PETERSONS  CAMERA  EXCHANG. 

356  So.  Bdwy.  Los  Angeles  I 

Send  For  Bargain  List  I 


Cinex  Testing  Machines 
Cinex  Polishing  Machines 


Developing    Machines 

Printing  Machines  rebuilt  for 

Sound  Printing 

Special  Motion  Picture  Machine 

Work 

Barsam  -  Tollar 
Mechanical  Works 

7239  Santa  Monica  Blvd. 

Hollywood,  California 

Phone  GRanite  9707 


The    new    "Local    659"    emblem. 
Small,  chic  and  attractive.      Or- 
der from  your  Secretary  or  direct 
from  manufacturers. 

J.  A.  Meyers  &  Co. 

822  South  Flower  Street 
The    largest   jewelry    factory 

in  the  West 
Diamonds — Watches — Jewelry 


Phone  GLadstone  4151 

HOLLYWOOD 
STATE  BANK 

The  only  bank  in  the  Industrial 

District  of  Hollywood  under 

State   supervision 

Santa   Monica    Boulevard    at 
Highland  Avenue 


IliTERS 


yrvducv  ttwntybl  mti  f*iqW£fr<n:rx  in  taytimv 
Ft^S«nw-  DitfusHTvtus  wd  mioy  vttwr  tfftcts. 

cAste  youp  dealer*  or  topite  to 

GEORGE  H.SCHEIBE 

PHOTO-FILTER  SPECIALIST 


GOERZ 

CINE  LENSES  / 


Staats- 

Neivcomer- 

Goerz 

CINE-PANOR 

for   your   Recreational 
Movie  Camera 

The  Cine-Panor  does  not 
function  like  the  ordinary 
wide  angle  lens.  The  wide 
angle  amateur  movie  lens  i^ 
panoramic  to  the  extent  that 
it  increases  the  field  of  view 
hut  compresses  it  to  the  lim- 
itations of  the  standard 
16mm.  picture  proportion. 
The  Cine-Panor  is  a  pan- 
oramic lens  which  gives  you 
true  wide  angle  perspective 
on  the  screen  by  increasing, 
in  a  horizontal  direction,  the 
size  of  the  screen  throw  by 
50%. 

Send   for  booklet   IP4 


C.P.GOERZ  AMERICAN  OPTICAL  Co 

319  B  EAST  34™  ST.     NEWyORKCITV 


MELROSE 

Trunk  Factory 

UNION  MADE  Camera 

Cases  for 
UNION  CAMERAMEN 

UNION   MADE   Camera   Num- 
ber Boards 

Trunk  and  Luggage  Repairing 
Our  Specialty 


Automobile  Trunks,  Sample  and 
Make-Up  Cases  to   Order 

GLadstone  1872     646  N.  Western 
LOS  ANGELES,  CALIF. 


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For      p 

rofessional 

Bell      & 

Howell 

and  DeBrie 

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Send  f u 

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offer. 

Or     telegra 

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Company, 

179  West 

Madison   street,  Chicago, 

Illinois. 

Forty 


The    INTERNATIONAL    PHOTOGRAPHER 


April,  1931 


A  COMPLETE  COURSE  in 

Aerial  Photography 

MAPPING — MOSAICS — OBLIQUES 

Starting  April  6,  1931 

at 

Grand  Central  Air  Terminal 

Glendale,  California 

For    Full   Information 

See  or  Write 

L.  M.  CARVER 

Curtiss  ^Wright  Flying  Service 

CApitol  6111 


Glendale 


CLASSIFIED 


With  Compliments 

Earl    (Curly)    Metz 

Assistant  Cameraman 


Aerial  Photography 

WM.  H.  TUERS 


GR.  9097 


HE.  1128 


James  E.  Woodbury 

Portrait   and    Commercial 
Photographer 

GRanite  3333     5356  Melrose  Ave. 
Los  Angeles,  Calif. 


J. 

N. 

Giridlian 

SECOND 

CAMERAMAN 

STerling 

1295 

TErrace  9152 

W.  A.  SICKNER 

FIRST   CAMERAMAN 

COMPLETE 

AKELEY 
EQUIPMENT 

CRestview7255     GLadstone  5083 
HEmpstead  1128 


Alvin  Wyckoff 

Multicolor 


FOR   SALE— Cameras— Mitchell,   Bell   &   How- 
ell,   Akeley ;    lenses    and    accessories    of    all 
kinds  ;    new    and    used.     HOLLYWOOD    CAM- 
ERA  EXCHANGE,    1511    Cahuenga  Boulevard. 

WANTED,  second  hand  Leica  Camera  En- 
larger  ;  must  be  in  good  condition.  Jackson 
Rose,    care    International    Photographers. 

MITCHELL  high-speed  Camera  No.  225.  Var. 
Rossem,   6049  Hollywood  Blvd.     HO   0725. 

WANTED  at  reasonable  price.  Mitchell  fric- 
tion head  tripod,  two  F-2  Cook  Lenses,  Motor 

for    Bell    &    Howell.    J.    C.    Sulzer,    Box    498, 

Atlanta,   Ga. 

MISCELLANEOUS 

FOR     SALE^Mitchell     Camera     equipped    for 
black    and    white   ov    for    Multicolor.      Harry 
Perry,     OXford     1908. 

FOR  SALE — Bargains  in  cameras,  lenses,  new 
and  used.  Voigtlander  9x12  cm  with  F  4.5 
lens,  $30.  Sept,  complete,  $25.  Rolleidoscope 
$135  size  6x13.  Leica  with  F  1.5  lens,  com- 
plete $95.  Stineman  16mm  printer,  $45.  Oth- 
ers ;  also  rentals,  repairs,  exchanges  at  Peter- 
sons   Camera   Exchange,    356    S.    Bdwy.,    L.    A. 


FOR  RENT 

Mitchell  with  Speed  Movement 
complete.  Five  matched  and  cali- 
brated lenses. 

4,  3,  2,  40  and  35  Pan  Tachar 
2  1000  ft.  and  4  400-ft.  magazines 
1  Gear  box  and  shaft 
1   Baby  tripod  and  high  hat 

Glenn  R.  Kershner 

Culver  City  3154 


ELMER  G.  DYER 

HE8116-HE1128 


Walter  J.  Van  Rossem 

PHOTOGRAPHIC  LABORA- 
TORY. 
MITCHELL    CAMERA    No.    225, 

COMPLETE,  FOR  SALE 

HOlly  0725      6049  Hollywood  Blvd. 

Hollywood,  California 


Art  Reeves 
Cliff  Thomas 


Phone 
HOIIywpod    9431 


EXCHANGE 


The  Clearing  House 

for  Cameramen 

Mitchell  and  Bell  &  Howells    FOR  RENT 

Cameras   and   Projectors   and 
Accessories   bought    and    sold 

Commercial  Photography 


1511    N.    Cahuenga    Blvd. 

HOLLYWOOD,  CALIFORNIA 


Kodak  Supplies 


Still  Finishing 


16  mm.,  35  mm.  Developed  and  Printed 


SUPERSENSITIVE 
PANCHROMATIC  NEGATIVE 

TYPE  TWO 
Pictures  Completed  or  Currently  in  Production 

PRODUCTION  PRODUCER  PHOTOGRAPHER 


REGISTERED   WOMAN 
CHERI  BIBI 


BROCK  COMEDY 

MME.   JULIE 

BIG  BROTHER  — 
OUR  GANG 


CHAS.  RQGERS-R.K.O. 

M.G.M. 

R.K.O. 

R.K.O. 

R.K.O. 


HAL  MOHR 

OLIVER  MARSH 

EDDIE  CRONJAGER 
ROY  HUNT 


TODD-PITTS  COMEDY 

WOMEN  OF  ALL  NATIONS 
RIDING  FOR  A  FALL 


CURE  FOR  THE  BLUES  — 
LAUREL-HARDY  COMEDY 
THE  MIRACLE  WOMAN — 
RED  HANDED 


HAL  ROACH 
HAL  ROACH 

FOX 

FOX 

FOX 


EDDIE  CRONJAGER 
ART  LLOYD 


YOUNG  SINNERS 

DANCING  PARTNERS 


HAL  ROACH 
-COLUMBIA  - 

FOX 

FOX 


GEORGE  STEVENS 
-LUCIEN  ANDRIOT 
-ERNEST  PALMER 
-CHESTER  LYONS 

JACK  STEVENS 

JOE  WALKER 


ARTHUR  EDESON 
JOHN   SEITZ 


M.G.M. 


OLIVER  MARSH 


Photographic  Perfection 

EASTMAN 

SUPER-SENSITIVE 
PANCHROMATIC  NEGATIVE 


TYPE  TWO 


J.  E.  BRULATOUR,  Inc. 


NEW  YORK 


HOLLYWOOD 


CHICAGO 


1  HE  new 

"QUICK  RELEASE 


// 


for  telescopic  handles  is  now 
standard  on  all  new  Mitchell 
Friction  Heads.  It  enables  the 
telescopic  handle  to  be  instantly 
dropped  out  of  the  way  when  not 
needed.  The  handle  can  be 
quickly  made  ready  for  use  by  lift- 
ing it  into  place  and  locking  by 
a  quarter  turn  of  cam  lever  arm. 


I  his  convenience 
can  be  installed 
on  your  present 
Mitchell  Friction 
Head  at  a  small 
cost 


+ 


+ 


+ 


Mitchell   Camera   Corporation 

665  N.  Robertson  Blvd.,  West  Hollywood,  California 
Cable      Address      "MITCAMCO"     Phone     OXford      1051 


.!'■•     " 


PHOTOGRAP 


. 


HOLLYVOOD 


M 


AINTAINING  the  same  relation  of 

Color  Balance 


as  its  Regular  Product 


*  EG.  U.S.  PAT.  OFF 


Special  Panchromatic 

Negative 

requires  no  change  in 

Make-up,  Costuming,  Painting 
and  Dressing  of  Sets 


SMITH  &  ALLER,  LTD. 

6656  Santa  Monica  Boulevard  HOlIywood  5147 

Hollywood,   California 

PACIFIC  COAST  DISTRIBUTORS  FOR 

Du  Pont  Pathe  Film  Mfg.  Corp. 

35  West  45th  Street  New  York  City 


May,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


One 


//  I  // 


New  Silent  Unit    I 
Pilot  Register  Movement 


/ 


or 


COLOR  and  SOUND 

in   the   B  &  H   Standard   Camera 


WHEN  BELL  &  HOWELL 
engineering  gave  pilot 
pin  registration  to  the  industry, 
another  chapter  in  the  epic  of 
the  cinema  was  written. 

Today,  history  again  dips  its 
pen.  Bell  &  Howell  presents  a 
silenced  pilot  pin  mechanism 
adaptable  also  for  color  by  the 
Bi-Pack  processes.  Thus,  color 
comes  to  the  sound  stage,  and  with  equipment  that 
is  fully  tried  and  tested. 

The  new  Bell  &  Howell  silent  Unit  "I"  move- 
ment features  a  special  cam  cut  to  give  a  much 
shorter  stroke  than  the  regular  cam.  Register  leaves 
are  therefore  controlled  within  very  close  limits, 
eliminating  "slap"  on  the  aperture  plate.  Rocker 
arm  and  register  leaf  are  made  extremely  light. 
Special  rollers  minimize  the  flapping  of  the  film. 


Bask  Model  B  &  H  Standard  Camera 
adaptable  for  color,  sound,  or  speed 


Roller  and  inserts  are  of  formica. 
Write  for  complete  informa- 
tion on  the  new  B  &  H  Silent 
Unit  "I"  pilot  pin  mechanism. 

B  &  H  16  mm. 
CONTACT  PRINTER 

An  adaptation  of  the  famous 
Bell  &  Howell  Standard  Con- 
tinuous Model  "D"  Film 
Printer,  the  B  &  H  16  mm.  Contact  Printer  has 
every  advantage  and  distinctive  feature  of  the 
35  mm.  model. 

Creepage  or  slipping  is  wholly  overcome,  film  is 
controlled  at  printing  aperture;  precision  mechanism 
assures  perfect  film  movement  and  protects  film 
from  abrasion,  film  contact  at  aperture  is  achieved, 
lighting  is  mechanically  controlled,  framing  is 
unnecessary.  Write  for  full  details. 


♦    BELL    &    HOWELL   ♦ 

Bell  &  Howell  Company,  1849  Larchmont  Avenue,  Chicago,  Illinois    •    New  York,  11  West  42nd  Street 
Hollywood,  6324  Santa  Monica  Boulevard    *    London  (B  &  H  Co.,  Ltd.)  320  Regent  Street    •    Established  1907 


Two 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


1  he  Moreno-Snyder  Continuous 
Camera  is  a  Fact... 


In  the  International  Photographer  for  November,  1930,  we  announced  that  the  camera  (and 
projector)  was  in  process  of  manufacture  and  that  it  would  soon  be  ready.  Delays  were 
caused  by  the  addition  of  important  new  devices  invented  by  Mr.  Moreno. 


Well,  here  it  is —  the  camera  that  wise  ones  said  could  not  be  successfully  fabricated — and 
by  test  it  looms  as  the  ideal  precision  instrument  in  its  field. 


It  is  offered  to  the  trade  on  its  merits  and  here  are  some  of  them : 


CONTINUOUS.  The  film  passes  through  the  cam- 
era at  continuously  uniform  speed  with  no  inter- 
mittent motion  on  either  the  film  or  any  moving 
part  of  the  camera. 

NOISELESS.  This  fundamental  kinematic  charac- 
teristic permits  of  a  design  which  is  noiseless  in 
operation. 

EXPOSURE  TIME.  At  the  new  standard  inter- 
mittent film  speed  of  90  feet  per  minute  the  exposure 
time  per  picture  frame  is  Vis  seconds.  With  the 
M.  S.  Camera,  and  at  a  continuous  film  speed  of 
90  feet  per  minute,  the  exposure  time  per  picture 
frame  is  about  twice  as  long  or  V->i  seconds. 

RESULT:  Standard  exposure  with  M.  S.  Camera  is 
obtained  by  about  50%  of  now  necessary  standard 
illumination  or  of  working  lens  aperture,  thereby 
increasing  photographic  values  of  picture. 

SLOW  MOTION.  This  camera  is  without  any  nec- 
essary change  of  adjustment  a  silent  "slow  motion" 
camera  up  to  a  film  speed  of  about  300  frames  per 
second  or  1125  feet  per  minute. 

SOUND  RECORDING.  On  account  of  the  continu- 
ously uniform  progress  of  the  film  synchronized 
sound  recording  can  be  effected  at  the  correspond- 
ing picture  frames  and  not  a  predetermined  distance 
therefrom — another  decided  advantage  over  present 
standard  practices  for  sound  on  film  methods. 

COLOR  PHOTOGRAPHY.  The  increased  exposure 
time  for  standard  film  speed  offers  great  advantages 
for  any  system  of  color  photography. 


DEPTH  OF  FOCUS.  Another  desirable  character- 
istic of  the  M.  S.  Camera  is  the  fact  that  a  greater 
depth  of  focus  is  obtained  for  any  definite  setting 
of  any  standard  lens. 

FOCUSING  DEVICE.  The  change  of  camera  from 
focusing  (finder)  position  to  exposure  position  does 
not  move  any  heavy  part  of  the  camera;  but  is 
effected  by  the  jarless  and  practically  resistless 
moving  of  a  small  lever  for  about  %".  The  photo- 
graphic lens  and  the  film  are  untouched,  therefore, 
no  movement  of  any  kind  is  required. 

MAGAZINES.  Delivery  and  windup  film  magazines 
are  separate  from  each  other,  permitting  about  50% 
reduction  in  weight  and  bulk  of  handling  of  camera 
film  supply. 

CONVENIENCE.  The  M.  S.  Camera  is  lighter  than 
most  professional  cameras,  is  easy  to  set  up  and 
its  silence  makes  it  a  boon  to  the  news  men. 

EXPOSOMETER.  The  handiest  device  ever  in- 
stalled on  a  camera.  At  a  glance  the  cameraman 
is  able  to  determine  the  correct  intensity  of  light 
and  exposure.  This  means  standardization  of  nega- 
tive density — enables  the  operator  at  will  to  abso- 
lutely duplicate  any  predetermined  lighting  con- 
dition. 

TRICK  WORK.  For  trick  work  alone  the  M.  S. 
Camera  is  worth  more  than  its  cost.  Its  steadiness 
is  amazing  and  its  continuous  movement  enables  it 
to  do  wonderful  things. 


Our  next  announcement  will  concern  itself  with  color  photography  and  projectors. 
Our  illustrated  folder  will  be  sent  to  all  inquirers  about  May  15. 

Moreno-Snyder  Cine  Corporation,  Ltd. 

6250  Santa  Monica  Blvd.  and  1072  Vine  St.,  Hollywood,  California 

Phones— Office  GR  0306— Shops  GR  5277 

GABRIEL  GARCIA  MORENO,  Chief  Engineer  WILLIAM  G.  FAIRBANK,  President 

SILAS  EDGAR  SNYDER,  Vice-President  in  Charge  of  Sales  Promotion 


INTERNATIONAL 
PHOTO  GPAPHE  R 


Official  Bulletin  of  the  International 
Photographers  of  the  Motion  Pic- 
ture Industries,  Local  No.  659,  of 
the  International  Alliance  of  The- 
atrical Stage  Employees  and  Mov- 
ing Picture  Machine  Operators  of 
the  United  States  and  Canada. 


Affiliated  with 

Los  Angeles  Amusement  Federa- 
tion, California  State  Theatrical 
Federation,  California  State  Fed- 
eration of  Labor,  American  Fed- 
eration of  Labor,  and  Federated 
Voters  of  the  Los  Angeles  Amuse- 
ment Organizations. 


Vol.  3 


HOLLYWOOD,  CALIFORNIA,  MAY,  1931 


No.  4 


"Capital  is  the  fruit  of  labor,  and  could  not  exist  if  labor  had  not  first  existed. 
Labor,  therefore,  deserves  much  the  higher  consideration." — Abraham  Lincoln. 


C  0  N  T 

Front    Cover — In    Southern    Arizona 
Joe  Harris,  Photo 

Shooting  Zeppelin  a  Thrilling  Job..     4 
Eg  Elmer  G.  Dyer 

Exposure  Control  Serious  Problem  . .     6 
By  Lewis  W.  Physioc 

Masquers  Reorganize  Keystone  Cops.     8 

Condolences  to  the  Harry  Warners 
from  International  Photographers  10 

Cartoon   12 

By  Glenn  R.  Kershner 

Rose  Takes   His  Camera  Into   Local 
Beauty  Spots  14 

"Hot  Points"  17 

Conducted  by  Maurice  Kains 

Dirt  and   Scratches 19 

Conducted  by  Ira  Hoke 


E  N  T  S 

With  Camera  and  Pen  Parichy  Visits 

Old  Granada 20-32 

By  Esselle  Parichy 

Looking    In    On    Just    a    Few    New 

Ones    22-30 

By  George  Blaisdell 

In  Memoriam — Nealson  Smith 24 

Amateur  Department  25 

Make-Up  Hints  for  Amateur  Actors.  .   25 

On  One  World  Cruise  Every  Fourth 
Passenger  Carried  a  Movie  Camera.  27 

Henry  Prautsch,  Jr.,  Designs  Emblem  28 

Focusing    Alignment    Gauge    Devised 

for    Photographers    and    Scientists  28 
New  Negative  to  Improve  Quality.  ...  29 
By  Fred  Westerberg 

Fearless  Camera  Convertible  35-50..   36 


Technical  Editors 


The  International  Photographer  is  published  monthly  in  Hollywood  by  Local  659,  I.A.T.S.E. 

and  M.  P.  M.  O.  of  the  United  States  and  Canada 
Entered  as  second  class  matter  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Calif.,  under 

the  act  of  March  3,  1879 
Copyright  1930  by  Local  659,  I.  A.  T.  S.  E.  and  M.  P.  M.  O.  of  the  United  States  and  Canada 

Howard  E.  Hurd,  Publisher's  Agent 

George  Blaisdell Editor      Lewis  W.  Physioc    1 

Ira  Hoke  -    -    -    -    -     Associate  Editor      Fred  Westerberg      \ 

John  Corydon  Hill     -     -     -     Art  Editor 

Subscription  Rates — United  States  and  Canada,  $3.00  per  year.    Single  copies,  25  cents 

Office  of  publication,  1605  North  Cahuenga  Avenue,  Hollywood,  California.    HEmpstead   1128 

The  members  of  this  Local,  together  with  those  of  our  sister  Locals,  No.  644  in  New  York,  No. 
666  in  Chicago,  and  No.  665  in  Toronto,  represent  the  entire  personnel  of  photographers  now 
engaged  in  professional  production  of  motion  pictures  in  the  United  States  and  Canada.  Thus 
The  International  Photographer  becomes  the  voice  of  the  Entire  Craft,  covering  a  field  that 
reaches  from  coast  to  coast  across  North  America. 
Printed  in  the  U.  S.  A.     1=^^>2     at  Hollywood,  Califoi-nia. 


Four 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


Shooting  Zeppelin  a  Thrilling  Job 


Cameraman's  Reactions  Following-  Remarkable 

Experiences  Recording"  on  Film  Latest 

Melodrama  of  the  Air 

By  ELMER  G.  DYER 

Photographer  Aerial  Shots  in  "Dirigible" 


PHOTOGRAPHING  a  giant  air 
liner  in  action  is  quite  an  ex- 
perience and  accompanied  by 
some  thrills,  too.  When  Columbia 
assigned  me  to  this  "Dirigible"  job  I 
knew  I  had  my  hands  full,  and  it 
would  be  something  different  from 
anything  I  had  ever  before  under- 
taken. 

When  they  told  me  the  scenes  would 
be  taken  at  Lakehurst,  I  knew  it 
would  be  still  harder,  since  the  atmos- 
phere around  this  vicinity  is  not  really 
ideal  for  air  photography.  The  sur- 
rounding country  is  heavily  covered 
with  forests  and  underbrush,  and 
there  is  nearly  always  a  forest  fire 
somewhere.  In  fact,  smoke  seems  in- 
variably to  hang  around  this  loca- 
tion. 

It  was  quite  a  task  to  decide  just 
which  filter  to  use.  Joe  Walker,  the 
chief,  and  I  made  numerous  tests  be- 
fore the  actual  photographing  of  the 
scenes  was  begun.  The  next  thing 
was  to  attach  suitable  camera  mounts 
to  this  giant  airship  and  arrange  them 
in  such  places  as  to  photograph  the 
story  action  to  advantage. 

Joe  picked  three  set-ups  and  I  de- 
signed the  mountings  for  the  Zeppelin, 
one  shooting  back  out  of  a  window  in 
the  rear  of  the  control  car,  one  in  a 
side  motor  gondola  shooting  out,  and 
one  in  the  rear  motor  gondola  shoot- 
ing forward. 

It  might  be  explained  that  a  motor 
gondola  is  not  such  an  ideal  place  for 
a  cameraman  to  work  from,  but  since 
the  front  of  the  gondola  is  the  radia- 
tor it  sure  is  a  "hot"  one.  With  an 
enormous  motor  turning  up  1200 
r.p.m.  the  sound  is  terrific.     After  a 


few  hours  of  this  one  is  nearly  deaf 
and  half  cooked. 

The  stunt  being  photographed  was 
a  small  Vaught-Cossar  pursuit  plane 
hooking  on  to  the  trapese  arrange- 
ment attached  to  the  bottom  of  the 
Zep.  Many  trials  were  made  before 
a  successful  one  could  be  completed. 
We  were  about  four  hours  in  all 
getting  one  hook-on,  as  the  service 
men  call  it. 

New   York  at  Night 

At  the  same  time  Frank  Capra,  the 
director,  wanted  a  camera  placed  on 
the  rear  end  of  the  fuselage  of  the 
plane  to  catch  a  close-up  of  the  pilot's 
action  and  the  actual  contact.  Here 
is  a  nice  piece  of  business  to  watch. 

It  sure  is  a  kick  to  see  the  pilot 
jockey  his  plane  with  the  finest  ac- 
curacy, for  one  bad  move  might  mean 
disaster,  but  the  navy  fliers  are  good, 
they  know  their  airplanes  and  put  on 
a  real  exhibition  for  the  camera.  We 
got  the  scenes,  and  as  I  have  heard 
since  they  were  the  best  that  ever 
have  been  done. 

I  had  a  lot  of  wonderful  experience 
on  this  production,  especially  the  two- 
day  trip  we  made  in  the  big  Zep  Los 
Angeles.  The  night  we  went  over 
New  York  City  was  a  great  treat  for 
us.  The  ship  took  off  in  the  dark  for 
the  big  city  and  we  had  no  thought 
of  being  in  the  air.  I  just  can't  get 
away  from  that  sight. 

Coney  Island  looked  like  a  fairy- 
land of  glimmering  diamonds,  and  the 
buildings  looked  different  than  I  had 
ever  seen  them  before.  They  were  all 
lighted  up,  it  being  the  time  of  night 
when   the   scrubwomen   are   all   doing 


their  tasks.  The  buildings  all  ap- 
peared to  be  hollow  and  transparent 
like  great  honeycombs. 

Broadway  at  Seventh  avenue  with 
all  its  dazzle  of  lights  looked  like  a 
great  Milky  Way  on  the  earth.  We 
did  not  attempt  to  shoot  this,  as  the 
lights  were  too  weak  for  registration. 
We  were  waiting  for  daylight. 

The  coming  of  morning  up  there 
was  some  sight  and  a  great  effect  for 
the  camera.  The  sun  rose  like  a  great 
crimson  ball  of  fire  over  a  vast  sea  of 
white  billowy  clouds  casting  its  bril- 
liant yellow  and  pink  rays  over  a  dead 
sea  of  cold  mist. 

Shooting  pictures  in  or  from  a 
dirigible  is  much  easier  than  from  a 
plane.  There  is  an  extreme  smooth- 
ness that  you  do  not  have  in  a  plane. 
There  is  no  terrific  wash  to  cope  with, 
the  wind  is  broken,  there  is  no  whip  or 
blast.  Going  ninety  miles  an  hour  in 
a  dirigible  is  like  riding  on  a  cloud. 
One  does  not  realize  he  is  off  the 
ground.  It  is  glorious  flying  in  a 
man-made  bird,  and  it  is  so  steady  to 
shoot  from. 

I  have  shot  air  scenes  from  many 
kinds  of  air  craft,  but  this  tops  them 
all,  and   I   hope  everybody  will   some 
time  have  a  chance  to  ride  in  one. 
Hunting  a  Set-Up 

At  Lakehurst  we  had  some  prob- 
lems to  work  out  besides  shooting 
from  the  Los  Angeles  dirigible.  First 
we  had  to  get  scenes  of  the  Los  An- 
geles itself  and  we  needed  a  place  to 
stand.  You  know,  we  couldn't  just 
walk  over  in  the  air  and  pick  a  shot. 

So  the  navy  solved  the  problem. 
They  gave  us  a  blimp  for  the  camera 
ship,  sort  of  a  miniature  edition  of 
the  great  Los  Angeles,  and  you  can 
handle  them  like  nobody's  business. 

It  was  quite  a  problem  to  mount  the 
Akeley  on  the  gondola  of  this  blimp, 
or  "J"  ship.  We  placed  a  plank  two 
feet  wide  and  twelve  feet  long  across 
the  gondola.  This  was  chained  fast 
to  the  forward  end  and  furnished  a 
nice  spot  from  which  to  shoot,  giving 


May,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Five 


1.  Dirigible  Los  Angeles  passing  over  Liberty  in  New  York  harbor.       2.Los  Angeles  on  the  ground.     3.  Dirigible  at- 
tended by  several  of  her  satellites,  the  blimps 


free  access  to  most  all  angles.  On 
this  plank  we  screwed  down  the 
Akeley  air  camera. 

These  procedures  took  care  of  the 
camera — but  just  where  the  camera- 
man was  to  stand  was  something  else 
again.  So  I  just  straddled  the  side 
of  the  gondola  and  rode  it  like  a  horse 
and  strapped  myself  to  the  plank  di- 
rectly in  back  of  the  Akeley. 

A  "J"  ship  is  powered  with  two  200 
h.p.  Hiso  motors  and  flies  at  top  speed 
about  70  miles  per  hour.  We  were 
able  to  keep  fairly  close  to  the  zep  and 
get  many  intimate  shots. 

We  shot  the  dirigible  over  New 
York  city,  and  there  is  where  I  had 
much  g-rief  with  the  light  and  smoke. 
Although  the  sun  was  shining,  a 
terrible  yellow  pall  hung  over  Man- 
hattan Island.  This,  I  understand, 
was  caused  from  carbon  and  dust  par- 
ticles in  the  air  from  the  factory 
chimneys  on  the  Jersey  side,  and  it 
just  so  happened  the  wind  was  in  the 
right  direction  to  carry  it  all  over  the 
city,  nearly  blocking  out  the  back- 
ground. 

For  these  shots  I  employed  heavy 
haze  cutting  filters,  and  yet  the  detail 
is  not  as  I  would  like  to  see  it.  The 
Los  Angeles  was  flying  at  an  altitude 
of  about  2000  feet,  and  this  made  all 
the  more  haze  to  cut. 

Seven  Hours  in   Air 

I  had  to  make  a  shot  of  the  statue 
of  Liberty  and  we  descended  to  about 
300  feet  and  circled  around  it.  This 
was  a  kick,  as  we  practically  stopped 
for  a  few  minutes  while  we  took  a 
shot.  Since  we  had  reduced  our  alti- 
tude, the  photographic  quality  was 
much  better,  as  there  was  much  less 
haze  to  penetrate,  and  these  shots 
came  out  very  fine. 

We  returned  late  that  day,  having 
been  in  the  air  about  seven  hours. 
We  overtook  the  Los  Angeles  above  a 
very  beautiful  spot  where  the  lakes 
and  inlets  reflect  like  mirrors.  With 
a  low  sun  the  big  cigar  registered 
beautifully   in   the   backlight   and   we 


landed  just  before  darkness  near  the 
hangar  at  Lakehurst. 

The  next  day  was  a  real  day  for 
air  shots.  The  weather  had  changed 
and  the  atmosphere  was  clean  and 
snappy.  Aided  by  a  good  wind  the 
clouds  were  the  cumulus  kind  that 
float  about  like  big  mountains  of  white 
snow. 

We  were  assigned  a  navy  plane  to 
use  for  the  camera  ship — another 
Vaught.  I  mounted  the  camera  on 
the  scarf  mount  ordinarily  used  for 
the  machine  gun,  and  by  adding  sev- 
eral pieces  it  makes  a  very  wonderful 
camera  mount,  since  it  can  be  moved 
from  one  position  to  another  by  re- 
leasing with  a  hand  lever.  Also  the 
motor  batteries  can  be  carried  in  the 
baggage  compartment. 

The  stunt  plane  was  a  navy  Boeing 
pursuit  ship  piloted  by  a  little  flyer 
named  Pee  Wee  O'Brien  from  the 
Anacosta  naval  air  station  at  Wash- 
ington, D.  C,  and  I  mean  to  tell  you 
he's  a  real  flyer. 

We  hopped  off  about  ten.  o'clock,  got 
about  9000  feet  altitude,  jockeyed  into 
position,  and  then  we  went  into  a 
power  dive,  and  this  flyer  certainly 
did  some  real  flying  —  upside  down, 
tail  spins,  nose  dives,  loops,  spirals 
and  about  everything  else  I  can  name 
and  then  some. 

He  did  one  of  the  most  spectacular 
stunts  I  have  ever  shot.  He  came 
down  in  a  dive  and  did  a  half  loop 
and  at  the  top  spun  straight  up.  This 
was  a  most  unusual  stunt.  It's  in  the 
picture  and  gets  a  lot  of  comment. 

Bouquet  for  Two  Pilots 

We  spotted  a  beautiful  cloud  stand- 
ing high  like  a  frozen  tower  of  snow. 
O'Brien  flew  right  into  this  beautiful 
mass  of  mist  and  out  the  other  side, 
giving  an  unusual  effect.  Then  he 
would  go  flying  into  great  shadowy 
canyons  and  out  over  big  billowy 
golden  crowned  clouds.  This  was  the 
background  I  had  to  shoot  against, 
with  a  couple  of  sweet  pilots  to  man 
the  ships. 

Last    but    not    least    is    the    great 


hangar  where  the  giant  dirigible  Los 
Angeles  and  her  three  baby  blimps 
rest.  My  first  look  at  this  place 
stopped  me.  Unless  one  has  seen  this 
great  "Cathedral  of  the  Air"  he  will 
have  no  idea  what  a  massive  piece  of 
architecture  it  is. 

Something  around  750  feet  long, 
250  feet  high  and  300  feet  wide,  it 
houses  all  four  of  these  ships  and  has 
room  for  some  airplanes  and  other 
paraphernalia.  My  first  impression 
was  that  it  was  not  so  big,  but  when 
I  started  to  walk  from  one  end  to  the 
other  I  soon  found  out  otherwise. 

Other  members  of  our  company 
made  the  same  discovery,  for  shortly 
we  were  employing  a  light  truck  to 
transport  our  camera  and  props 
around.  Then  when  I  rode  an  eleva- 
tor up  about  ten  or  twelve  stories  I 
knew  it  really  was  big.  The  view 
from  the  top  level  of  the  runways  is 
a  fine  one  and  we  made  many  interest- 
ing shots  as  the  ships  were  being 
taken  in  and  out. 

Man  chained  for  ages  has  broken 
his  earthly  bonds  and  soars  to  glorious 
new  conquests.  We  saw  the  greatest 
array  of  both  lighter  and  heavier 
than  air  craft  ever  assembled  at  any 
time.  It  presented  one  of  the  mighty 
spectacles  against  which  the  story 
"Dirigible"  is  staged. 

This  was  done  with  the  full  co- 
operation of  the  United  States  Naval 
Air  Service  at  Lakehurst.  Thus  was 
made  possible  the  massing  of  large 
amounts  of  both  types  of  aircraft, 
affording  marvelous  backgrounds.  It 
was  beautiful  to  see  the  dirigible  Los 
Angeles  in   flight — and  unforgettable. 

Gliding  gracefully  and  majestically 
over  cloudbanks,  drifting  over  some 
dream  world  vista  and  more  fanciful 
than  real,  bound  heavenward  seeking 
new  adventures,  this  wonder  ship 
seems  to  represent  man's  glorious  con- 
quest of  the  furies  and  forces  of  na- 
ture. 

Truly  of  such  things  mighty  dreams 
are  made. 


Six 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


Exposure  Control  Serious  'Problem, 


By  Tests  and  Experiments  Cameraman  Must  for 

Himself  Determine  New  Negative's  Speed 

And  Other  Chief  Characteristics 


BY  LEWIS  W.  PHYSIOC 

Technical  Editor 


THE  perfection  of  the  new,  high- 
speed  panchromatic  emulsion 
has  suggested  to  the  mind  of 
the  cameraman  a  very  serious  con- 
sideration of  the  problem  of  control 
of  exposures  in  motion  picture  pho- 
tography. 

It  should  be  needless  to  call  the 
photographer's  attention  to  the  im- 
portance of  exposure,  but  it  may  be 
interesting    to    some,    especially    the 


Lewis  W.  Physioc 

veterans  of  the  industry,  to  review 
the  history  of  motion  picture  photog- 
raphy from  the  standpoint  of  the  ex- 
posure. 

There  are  a  few  cameramen  still 
operating  who  can  revert  to  the  early 
days  when  motion  picture  operations 
were  confined  to  New  York  and  its 
vicinity.  Their  tools  and  conditions, 
at  that  time,  consisted  of  cameras 
without  any  shutter  control,  a  single 
lens  working  at  F4.5  aperture,  nor- 
mal speed  of  sixteen  pictures  a  sec- 
ond and  a  film  much  slower  than  the 
present  emulsion. 

We  presume  that  only  the  manufac- 
turers could  furnish  records  that 
might  show  a  comparison  of  the  emul- 
sion of  those  early  days  with  that  of 
the  present  time. 

During  that  early  period  the  ex- 
posure was  controlled  entirely  with 
the  diaphragm  of  the  lens.  Many 
operators  can  affirm  the  statement 
that  proper  exterior  exposures  were 
obtained  with  the  diaphragm  closed 
as  far  as  F16.  and  F22.  for  direct 
light,  Fll.  for  cross  light  and  F8.  for 


reverse  lighting,  using  only  a  soft 
white  reflector.  Under  hazy,  over- 
cast skies  and  on  diffused  sunlight 
stages  ample  exposures  were  had  at 
F6.3  and  F8. 

That  California  Light 

When  the  scenes  were  shifted  "to 
the  Coast"  the  general  cry  went 
forth :  "Be  careful  of  that  fast  Cali- 
fornia light!"  However,  many  cam- 
eramen, on  their  first  visit  to  the 
Coast,  discovered  that  the  western 
boys  were  exposing  much  more  heavi- 
ly than  those  in  "the   East." 

Investigation  proved,  further,  that 
the  western  laboratories  were  very 
admirably  meeting  this  condition  with 
developing  formulae  greatly  modi- 
fied in  comparison  with  those  of  the 
eastern  labs. 

The  few  succeeding  years  ushered 
in  some  remarkable  changes  in  mo- 
tion picture  photography  and  general 
technique.  First  among  the  innova- 
tions may  be  mentioned  the  improved 
cameras,  providing  an  additional 
means  of  controlling  the  exposure 
with  an  adjustable  shutter. 

Faster  lenses  were  introduced.  The 
daylight  stages  were  abolished  and 
covered  stages,  lighted  entirely  with 
artificial  light,  were  instituted.  Fi- 
nally, a  very  important  period  was 
recognized  in  the  development  of  the 
fast,  panchromatic  emulsion. 

During  these  rapid  developments 
the  cinematographer  might  justly  be 
concerned  about  his  exposures.  But 
the  surprising  fact  was  observed  that 
exposures  began  to  increase,  with  a 
further  modification  of  developers 
containing  a  small  percentage  of 
alkali  and  the  ultimate  substitution 
of  borax  for  sodium  carbonate,  to 
compensate  for  the  increase  in  ex- 
posure. 

Seeking  a  Reason 

In  search  of  a  reason  for  this  we 
are  inclined  to  go  beyond  the  argu- 
ments which  claimed  that  these  con- 
ditions represented  the  natural  ex- 
pedients in  the  aesthetic  developments 
of  the  art  of  photography — advanced 
ideas  of  technique.  We  may  find  the 
answer  in  a  purely  psychological  con- 
sideration. 

Incidental  to  these  technical  evolu- 
tions, the  pictures  began  to  develop  a 
degree  of  elaboration  and  financial 
display  that  excited  a  sense  of  awe, 
not  only  in  the  minds  of  the  laymen 
but  also  in  the  minds  of  picture  op- 
eratives. 

It  is  generally  thought  that  there 
is  (or  should  be)  an  idea  of  respon- 
sibility associated  with  the  spending 
of  vast  sums  of  money,  and  with  the 


cameraman  rests  a  healthy  share  of 
this  responsibility.  After  all  the  ela- 
boration and  preparation  it  is  he  who 
must  give  assurance  that  these  efforts 
should  not  be  lost  in  the  mysteries  of 
photography. 

The  day  had  now  passed  when  pro- 
ducers could  trust  these  enormous  in- 
vestments to  crank-turners  relegated 
from  alien   departments  of  endeavor. 

Such  a  responsibility  may  have  in- 
timidated some  of  the  cameramen  into 
a  supposed  position  of  security  by 
employing  all  the  light  furnished  by 
the  Creator  (or  his  specially  ordained 
agent,  the  electrician)  and  availing 
himself  of  the  full  limits  of  the  cam- 
era and  to  intrust  the  rest  to  the  lab- 
oratory. 

The  lab  expert,  in  turn,  realized 
that  if  he  should  develop  such  ex- 
posures in  the  accepted  formula  he 
would  never  be  able  to  print  the  nega- 
tives, or  if  he  could,  they  would  be 
harsh,  grainy  or  flat  and  he  would 
lose  a  customer.  He,  consequently, 
modified  his  developer  in  order  to  ob- 
tain printable  negatives. 

Responsibility   for  Negatives 

To  excuse  such  conditions  the 
writer  can  freely  state  that,  even 
after  many  years  of  experience,  he 
knows  of  no  other  thought  so  terrify- 
ing as  that  of  judging  the  exposures 
of  a  motion  picture  negative  where 
so  much  expense  is  involved. 

Variations  in  exposure  are  likely 
to  be  the  result  of  as  great  a  variety 
of  influences  in  each  production  as 
the  changes  in  natural  conditions,  the 
shifting  of  a  chief  electrician  or 
change  of  personnel  in  the  lab;  the 
very  mystery,  itself,  of  working  with 
photographic  materials,  contemplat- 
ing that  magic  latent  image  over 
which  he  has  no  visual  control  and 
which  he  must  intrust  to  the  lab  ex- 
pert. 

The  responsibilities  and  difficulties 
have  increased  also  with  the  intro- 
duction of  the  developing  machine 
which  demands  greater  accuracy  in 
exposures.  However,  this  laboratory 
improvement  ultimately  will  work  to 
the  cinematographer's  advantage,  for 
while  the  former  system  of  developing 
could  sometimes  compensate  for  er- 
rors, in  exposure  it  just  as  frequent- 
ly aggravated  those  errors. 

The  machine  can  standardize  de- 
velopment to  such  an  extent  that  the 
progressive  cinematographer  can 
check  his  exposure  from  day  to  day 
and  greatly  improve  his  work. 

In  reverting  to  our  consideration 
of  the  new  type  of  emulsion  we  linger 
over  the  comparison  of  the  film  of 
early  days,  and  the  eyes  of  our  cam- 
eras approach  this  brilliant  achieve- 
ment as  do  our  own  eyes  when  look- 
ing at  the  sun — through  a  "smoked 
glass." 

Little    Lab   Change 

The  manufacturers  have  furnished 
us  a  material  that  greatly  broadens 
the  cameraman's  scope  of  endeavor; 
but  its  control  is  directly  up  to  him, 


May,  19S1 


The    INTERNATIONAL    PHOTOGRAPHER 


Seven 


for  we  anticipate  very  little  change  in 
the  routine  of  the  laboratory.  Let  us 
consider  the  treatment  of  the  new 
film,  therefore,  from  the  cinematog- 
rapher's  standpoint.  Some  new  prob- 
lems are  introduced  and  these  are 
worthy  of  study. 

For  the  last  few  years  observations 
in  the  laboratory  disclose  the  fact 
that  negatives  in  general  are  printing 
on  the  heavy  end  of  the  printing 
range,  particularly  the  exterior 
scenes.  The  shadows  have  a  clogged 
or  veiled  appearance. 

Prints  from  such  negatives  lack 
brilliancy,  the  shadows  are  gray  and 
muddy,  and  the  highlights  are  lacking 
in  transparency.  Such  quality  is  due 
to  the  tendency  to  overexpose  and  the 
incumbent  method  of  superficial  de- 
velopment. Herein  lies  the  danger  of 
fast  lenses  and  speedy  film. 

The  ideal  negative  should  print  in 
the  middle  of  the  range,  but  this  is 
not  now  so  important  as  in  the  days 
of  tank  and  eye  development,  when 
modification  of  contrast  could  be  ob- 
tained by  using  the  printing  latitude 
on  either  side  of  the  range,  as  the 
case  required,  and  compensation  made 
in  development.  The  machine  has 
dispensed  with  this  treatment. 
Much  Work  Ahead 

However,  there  is  some  danger  that 
by  poor  control  of  the  fast  emulsion 
the  density  may  increase  to  such  an 
extent  as  to  throw  the  printing  range 
so  far  toward  the  heavy  end  that  the 
entire  printing  system  must  be 
changed  or  the  increase  in  exposure 
must  again  be  taken  care  of  in  the  de- 
velopment in  order  to  maintain  the 
present  density.  But  we  must  ever 
bear  in  mind  that  too  superficial  de- 
velopment does  not  produce  desirable 
negatives,  and  muddy,  flat,  gray 
prints  will  be  the  result. 

All  this  establishes  the  fact  that 
the  cameraman,  while  taking  advan- 
tage of  this  increase  of  sensitivity 
when  needed,  must  control  this  same 
additional  speed  when  light  conditions 
are  more  than  ample. 

In  controlling  exposures,  the  cine- 
matographer  has  several  elements  at 
his   disposal:    the    diaphragm    of   the 


lens  and  shutter  adjustment  in  cam- 
era manipulation;  the  use  of  filters, 
both  color  compensators  and  the  neu- 
tral, and  in  conjunction  with  these, 
he  has  the  important  matter  of  judg- 
ing the  quantity  and  quality  of  light, 
both  natural  and  artificial;  and  last- 
ly, and  not  least  important,  the  speed 
of  the  emulsion. 

Since  the  introduction  of  sound  the 
rate  of  speed  at  which  the  film  travels 
through  the  camera  is  hardly  to  be 
considered. 

These    expedients   have    their    dan- 
gers,  disadvantages    and    abuses,   and 
should  be  studied  individually. 
Diaphragm  of  Lens 

Many  cinematographers  prefer  to 
work  with  open  lenses,  for  it  is  gen- 
erally accepted  that  the  wiry  sharp- 
ness of  the  diaphragmmed  lens  is  not 
desirable  in  portrait  treatment  of 
close-ups.  Even  in  exteriors  more 
artistic  effects  are  achieved  with  the 
softer  focus  of  the  more  open  aper- 
ture. 

Without  discussing  the  abuse  of 
carrying  this  system  to  extremes  or 
speculating  as  to  the  popular  accept- 
ance of  highly  blurred  objects  moving 
in  the  background  of  "close-ups"  or 
"medium  shots"  the  determined  use  of 
wide  open  lenses  removes  the  dia- 
phragm as  a  means  of  exposure  con- 
trol. 

Shutter   Adjustment 

Before  the  introduction  of  sound 
the  closing  of  the  shutter,  in  varying 
degrees,  was  not  very  objectionable 
except  in  some  instances  of  rapidly 
moving  objects  across  the  camera  at 
close  range.  But  in  talking  pictures 
the  shutter  opening  is  an  interesting 
factor. 

Even  with  the  full  opening  of  170 
degrees  we  have  the  proposition  of  a 
100  per  cent  record  of  the  sound  with 
less  than  50  per  cent  of  the  action  in 
the  picture  that  must  accompany  the 
sound. 

It  should,  therefore,  appear  that 
the  most  perfect  synchronism  would 
require  a  picture  recording  as  much 
as  possible  of  the  action;  and  that  a 
shutter  closed  down  to  too  great  a 
degree    would    impair    the    synchron- 


ism. This  is  particularly  noticeable 
in  the  lip  movement  of  large  close-ups 
or  some  accompanying  rapid,  staccato 
movements. 

This  may  not  be  generally  noticed, 
but  the  trained  eye  catches  it,  and  it 
will  certainly  not  be  improved  by  re- 
sorting too  much  to  the  use  of  the 
shutter  in  controlling  exposures. 

There  are  times  when  the  picture 
appears  to  run  out  of  synchronism 
and  again  readjusts  itself.  Even  the 
public  sometimes  feels  the  lack  of 
perfect  illusion,  and  it  is  probably  due 
to  the  insufficient  record  of  the  action 
compared  with  that  of  the  sound. 

Film  cutters  have  observed  this 
with  particular  systems  of  recording, 
for  which  reasons  "circle  marks" 
when  being  photographed  are  held  in 
contact  long  enough  to  avoid  the  pos- 
sibility of  the  shutter  being  closed  at 
the  moment  of  the  sound  emission. 
Filters 

The  matter  of  filters  is  a  very  ex- 
tensive subject  in  itself  and  much  has 
been  said  and  written  on  this  topic. 
Suffice  it  at  the  present  to  say  that  it 
takes  a  great  deal  of  nerve,  knowl- 
edge and  self  assurance  for  a  cinema- 
tographer  to  place  any  sort  of  a  me- 
dium in  front  of  his  lens,  particularly 
the  so-called  "smoked  glass"  or  neu- 
tral filter;  yet  surely  these  are  among 
the  expedients  of  exposure  control,  as 
well  as  a  means  of  insuring  quality. 

This  is  a  very  complicated  demand 
on  his  judgment.  It  requires  much 
experience  and  knowledge  in  select- 
ing the  proper  filter  in  conjunction 
with  a  correct  judgment  of  the  qual- 
ity of  the  light  and  color  and  charac- 
ter of  the  subject  to  be  rendered. 
Here  the  dangers  of  overcorrection 
may  be  encountered,  aside  from  any 
consideration  of  exposure. 

The  neutral  filter  has  been  very 
successfully  employed  in  controlling 
exterior  exposures.  In  strong  sun- 
light it  appears  to  prevent  that  un- 
desirable veiling  of  the  shadows  and 
yet  permits  of  soft  illumination  of 
the  shadowy  portions  of  the  picture 
and  at  the  same  time  prevents  the 
choking  up  of  the  highlights.  Care 
must  be  exercised  not  to  use  too 
heavy  a  degree  where  brilliancy  and 


Dirigible  Los  Angeles  sailing  over  her  hangar  at  Lakehurst,  and  (2)  through  the  clouds.    Photo  by  Elmer  G.  Dyer 


Eight 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


contrast     are     sought,     especially     in 
bright  diffused  light. 

Lighting 

In  discussing  the  subject  of  light 
we  need  take  natural  light  into  con- 
sideration only  where  boosters  and 
reflectors  are  concerned,  for  with  the 
high  speed  emulsion  we  may  nearly 
always  be  assured  of  an  exposure, 
and  these  aids  are  to  be  used  where 
contrast  is  to  be  enhanced  in  dull, 
flat  light,  in  back  lighting  or  great 
areas  of  shadow  cast  by  large  masses 
such  as  trees  or  buildings. 

In  treating  of  the  artificial  lighting 
of  the  studios  we  find  a  great  deal  of 
matter  for  speculation  in  the  wide 
discussion  of  the  saving  of  electricity 
by  the  use  of  the  new  fast  emulsion. 
This  suggests  an  interesting  question 


as  regards  the  individuality  of  the 
cameraman. 

Will  he  be  concerned  about  greatly 
reducing  the  cost  of  lighting  or  will 
he  use  this  new  condition  to  work  our 
a  new  technique  in  lighting?  Here- 
tofore he  has  had  to  crowd  the  set 
pretty  closely  with  an  extensive 
equipment.  We  may  find  him  taking 
advantage  of  the  situation  by  adopt- 
ing a  longer  range. 

This  would  mean  more  freedom  of 
operation,  personal  comfort  for  the 
players,  entirely  different  effects  by 
better  diffusion  of  the  general  light- 
ing, soften  the  shadows  and  produce 
better  balance  between  shadow  and 
highlights,  smooth  out  skin  textures, 
permit  of  the  proper  "kick"  in  the 
special  effects  and  we  know  not  what 


Masquers   Reorganize  Keystone    Cops 


HEREWITH  we  present  the  Key- 
stone Cops  up  to  the  minute. 
Readers  will  recall  in  the  April 
issue  we  reprinted  Harry  Vallejo's 
photograph  of  the  original  Keystone 
Coppers.  Over  in  the  Pathe  Studio, 
where  the  Masquers  Club  has  just 
finished  "Stout  Hearts  and  Willing 
Hands,"  the  first  of  a  series  of 
comedies  being  produced  for  the  pur- 
pose of  raising  funds  to  build  a  club- 
house, the  picture  attracted  real  at- 
tention. 

A  request  was  made  of  Mr.  Vallejo 
that  the  studio  be  permitted  to  re- 
produce the  still  and  use  it  in  ex- 
ploitation of  the  series.  The  okeh  of 
the  photographer  was  immediately 
and   cordially  returned. 

Phil  Gersdorf  of  the  Pathe  organi- 
zation writes  that  in  the  initial  sub- 
ject the   Masquers  have  incorporated 


a  chase  wherein  the  heroic  coppers  of 
the  reorganized  world's  most  famous 
police  force  save  the  hero  and  hero- 
ine, Frank  Fay  arid  Laura  La  Plante, 
from  the  clutches  of  the  villain,  Lew 
Cody. 

In  this  chase  have  been  incorporated 
as  many  of  the  original  Keystone 
cops  as  possible.  "I  am  sending  you 
a  still  of  this  revamped  group  and 
thought  you  might  like  to  use  it  in 
a  forthcoming  issue,"  adds  Mr.  Gers- 
dorf. 

So  here  are  the  coppers,  reading 
right  to  left:  Ford  Sterling,  chief; 
Chester  Conklin,  Bobby  Vernon,  Mack 
Swain,  Clyde  Cook,  Hank  Mann  and 
Jimmy  Finlayson.  As  the  heroine  and 
the  hero  are  busy  being  pursued  by 
the  villain  they  are  unable  to  be  pres- 
ent. 


other  improvements  may  be  achieved. 

Some  critics  have  felt  that  the  fast 
lenses  and  speedy  emulsions  have  cre- 
ated a  tendency  to  overlight  interior 
sets.  There  has  not  been  a  proper 
separation  between  background  and 
subject.  There  has  been  an  apparent 
desire  to  light  every  nook  and  cranny, 
thereby  destroying  those  mysterious, 
shadowy  recesses  so  interesting  in  in- 
terior lighting. 

This  excess  of  overall  lighting  also 
neutralizes  any  positive  light  effects, 
such  as  lamps  in  the  set  or  light 
through  windows,  etc.  Anything  that 
will  help  us  overcome  such  errors  will 
be  worth  more  than  a  saving  of  elec- 
tricity. 

Speed  of  Film 

We  see  nothing  in  the  use  of  the 
new  film  that  should  disturb  the  pro- 
ducer. It  is  merely  an  improvement 
of  one  of  the  elements  of  his  indus- 
try. Neither  should  it  worry  them  as 
to  the  processing,  for  the  labs  should 
soon  be  able  to  determine  what  pre- 
cautions, if  any,  they  must  adopt  to 
prevent  light  or  chemical  fog. 

In  summing  up  this  consideration, 
we  can  see  but  one  issue — it  is  the 
cinematographer's  individual  respon- 
sibility. 

It  is  merely  a  new  tool  that  has 
been  handed  him,  and  he  is  expected 
to  master  it.  We  can  accept  the  man- 
ufacturer's word  as  to  its  speed  and 
characteristics,  but  the  wily  camera- 
man should  determine  these  for  him- 
self by  making  careful  tests  and  ex- 
periments. 

The  manufacturers  have  done  their 
part  in  furnishing  a  fine  material; 
the  photographer  must  now  do  his  by 
demonstrating  his  control  of  it. 


Engineers   Convene   at   Night 

So  Workers  May  Be  Present 

THE  tentative  program  for  the 
spring  meeting  of  the  Society  of 
Motion  Picture  Engineers  to  be  held 
in  Hollywood,  May  25  to  29,  just  an- 
nounced by  W.  C.  Kunzmann,  chair- 
man of  the  convention  committee, 
shows  that  every  effort  has  been 
made  to  allow  eastern  members  to 
see  as  much  of  the  studios  as  possi- 
ble and  also  to  permit  the  studio 
workers  to  attend  meetings  without 
interfering  with  their  regular  work. 

Only  one  afternoon  session  will  be 
devoted  to  papers,  while  the  three 
others  will  be  given  over  to  trips  to 
studios  and  other  points  of  interest. 
Two  technical  meetings  will  be  held 
at  night  so  that  studio  workers  may 
attend. 

The  banquet  will  be  held  Wednes- 
day evening  in  the  Hotel  Roose- 
velt, convention  headquarters.  All 
technical  sessions  will  be  held  at  the 
American  Legion  Auditorium. 

Peter  Mole  has  been  appointed 
chairman  of  the  arrangements  com- 
mittee and  a  reception  committee  of 
twenty  will  welcome  Eastern  dele- 
gates. 

One  of  the  features  of  the  meeting 
will  be  an  exhibit  of  new  equipment 
developed  in  the  last  year.  From  the 
number  of  manufacturers  who  will 
display  equipment  an  exhibit  of  unu- 
sual interest  is  assured. 


May,  19S1 


The    INTERNATIONAL    PHOTOGRAPHER 


Nine 


/After  tests  covering  two  years  time 

The  Raytar  Lens 

is  ready  for  your  approval 


Now,  two  years  after  the  completion 
of  the  first  Raytar  Lens  (designed  under 
the  direction  of  W.  B.  Rayton,  director 
of  the  B.  &  L.  Scientific  Bureau),  the 
complete  line  is  ready  for  distribution. 
During  these  two  years  the  lens  has 
been  subjected  to  exhaustive  labora- 
tory tests  much  more  exacting  than  the 
actual   requirements  of  the   studio. 

These  tests  prove  that  no  competing 
lens  equals  it  in  the  even  definition  it 
produces  over  the  whole  picture  area. 
The  results  of  these  tests  supplemented 
by  the  enthusiastic  approval  of  users 
whom  we  have  been  able  to  contact 
directly,  abundantly  justify  us  in  an- 
nouncing them  to  the  Cinematographers 
backed  by  the  full  B.  &  L.  guarantee  as 
to   quality   and    performance. 

Positive  Focus 

Sharp  definition  and  positive  focus 
are  characteristic  of  the  Raytar.  The 
point  of  focus  is  very  definite  and  a 
slight  adjustment  in  either  direction 
shows  the  image  to  be  distinctly  out  of 
focus.  Hence  there  is  no  uncertainty 
and  an  exact  focus  is  easily  obtained. 

Glass  That  Will  Not  Tarnish 

The  Raytar  is  made  from  glass  de- 
veloped and  made  in  the  Bausch  &  Lomb 


glass  plant  and  it  will  not  tarnish  or 
discolor.  Rigid  tests  over  a  three-year 
period  confirm  this  statement. 

Fully  Corrected 

These  lenses  are  fully  corrected  and 
perform  equally  well  with  arc  or  incan- 
descent illumination  and  with  ortho- 
chromatic,  panchromatic  or  high  speed 
film. 

The  Mountings 

Special  attention  has  been  given  to 
the  accuracy  and  mechanical  construc- 
tion of  the  mountings  and  they  will 
stand  up  under  more  abuse  than  they 
would  ordinarily  be  expected  to  endure. 

Speed  and   Focal   Lengths 

Lenses  of  the  following  speeds  and 
focal   lengths  are  now   in   stock: 

f2:3  35  mm 

40  mm 

50  mm 

75  mm 

100  mm 

f2:7  152  mm 

The  above  statements  are  made  only 
after  the  most  severe  tests  and  can  be 
confirmed  and  substantiated.  You  are 
invited  to  try  the  RAYTAR. 


Bausch    &   Lomb   Optical   Co. 


ROCHESTER,     N.     Y. 


Ten 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


Controlenceg  to  tfje  Harrp  Earners 
from  Snternattonal  $fjotograpf)erg 


Leivis    Warner 

Evolution 

'^^{jcreasi,  the  officers  and  members  of  International  Photog- 
raphers, Local  659,  of  the  International  Alliance  of  Thea- 
trical Stage  Employees  and  Moving  Picture  Machine  Operators, 
having  learned  with  deep  regret  of  the  untimely  passing  of  Lewis 
Warner,  only  son  of  Harry  M.  Warner,  it  is  hereby 

Resolved,  by  the  Executive  Board  of  this  organization,  that  the 
sympathy  of  our  members  be  extended  to  the  father  and  mother 
in  their  great  bereavement  over  the  loss  of  this  son  at  the  door- 
way of  a  career  which  his  associates  had  every  reason  to  believe 
would  be  of  large  scope  and  usefulness;  and  be  it  further 

Resolved,  that  a  copy  of  this  resolution  be  forwarded  to  Mr. 
Warner,  with  whom  during  the  past  two  decades  many  of  our 
cameramen  have  been  closely  affiliated;  and  that  a  copy  be  spread 
upon  the  minutes  and  also  be  printed  in  the  next  issue  of  the  Inter- 
national Photographer. 


Engineers  to  Hold  Session 

on  Photography  in  Color 

DR.  C.  E.  K.  MEES,  director  of 
research,  Eastman  Kodak  Com- 
pany, and  acknowledged  to  be 
one  of  the  foremost  authorities  on 
photography,  has  just  accepted  an 
invitation  to  preside  at  a  special  color 
photography  session  to  be  held  during 
the  Society  of  Motion  Picture  Engi- 
neers' Spring  Meeting  in  Hollywood, 
May  25  to  29. 

At  this  session  a  number  of  papers 
will  be  given  by  leading  authorities 
and  specialists  in  the  various  color 
processes,  and  outstanding  examples 
of  color  photography  will  be  shown. 
Special  sessions  also  will  be  devoted 
to  sound  recording,  studio  practice 
and  film  characteristics  and  process- 
ing. According  to  0.  M.  Glunt,  chair- 
man of  the  papers  committee,  lead- 
ing authorities  in  each  of  these  fields 
have  been  secured  to  give  papers  and 
demonstrations.  What  is  expected  to 
be  of  unusual  interest  for  the  sound 
recording  session  will  be  the  showing 
of  outstanding  examples  of  recording 
which  have  been  produced  in  a  num- 
ber of  the  studios  in  the  last  few 
months. 


Los  Angeles   Camera  Club 

Moves  to  Larger  Quarters 

THE  Los  Angeles  Camera  Club  is 
moving  May  1  from  its  quarters 
at  Third  and  Spring  to  2504  West 
Seventh  Street,  near  Westlake  Park. 
In  its  new  home  the  club  will  have  a 
laboratory  and  projection  room,  por- 
trait room,  two  enlarging  rooms,  two 
printing,  two  dark  rooms  for  negative 
development,  and  work  rooms  for  fin- 
ishing. The  equipment  will  be  mod- 
ern throughout. 

The  club  also  is  the  possessor  of  a 
library  on  art  and  photography.  All 
members  of  the  I.  A.  T.  S.  E.  are 
invited  to  attend  the  meetings  of  the 
club,  which  are  held  on  Thursday 
evenings.  At  the  present  time  there 
are  125  members,  with  100  applica- 
tions pending.  These  latter  will  be 
acted  upon  by  the  club  immediately 
following  its  occupancy  of  its  new 
quarters.  The  local  club  is  a  member 
of  the  American  Association  of  Cam- 
era  Clubs. 


S tuber  and  Mees  to  Coast 

W.  G.  Stuber,  president  of  the  East- 
man Company,  and  Dr.  C.  E.  K. 
Mees,  chief  of  the  Eastman  research 
department,  will  leave  Rochester  May 
14  for  the  west  coast,  arriving  there 
four  days  later.  The  president  will 
be  in  Los  Angeles  for  a  week.  It  is 
his  first  visit  in  two  years. 

Dr.  Mees  will  be  in  Hollywood  for 
the  Engineers'  convention,  the  ses- 
sions of  which  will  run  from  May  25 
to  29.  It  is  Dr.  Mees'  first  west  coast 
visit  in  four  years. 


Death  of  Edward  Bader 

Edward  Bader,  father  of  Walter 
Bader  and  father-in-law  of  Ben  Rey- 
nolds, both  of  the  International  Pho- 
tographers, passed  away  March  27. 


May,  19.ll 


The    INTERNATIONAL    PHOTOGRAPHER 


Eleven 


THE  FEARLESS  CAMERA  CO. 

^Announces. . . 

A  new  Magazine  Adapter  for  Bi  pack 
color  photography  and  process  shots. 


The  Dual 

magazine 

adapter  is  built 

for  Mitchell, 

Bell  &  Howell 

and   Fearless 

Cameras. 


5=50^=5 


Illustration  shows  new 
Fearless  Camera  ar 
ranged  for  color.  Price 
of  adapters:  $200  for 
1000  foot  Magazines; 
$150  for  400  foot 
Magazines 


The 

Fearless   Camera 

Priced 

at  $4000 

Complete 

for  either  35  or 

50  mm.  film. 

Equipment 
Consists  of 

Camera  and  Case,  Fear- 
less Friction  Head  Tri- 
pod, Matte  Box  and 
Filter  Holder,  Fearless 
Synchronous  Motor, 
Fearless  Motor  Adapter 
and  Clutch  Combina- 
tion, 2-Magazine  Cases, 
4  Fearless  Film  Maga- 
zines (1000  foot),  4 
"Hugo    Meyer"    Lenses 


1.  Saves  costs  of  special  magazines. 

2.  Made  for  Mitchell,  Bell  &  Howell  and  Fear- 
less cameras. 

3.  Enables    every    cameraman    to    make    Multi- 
color negatives. 

4.  Saves  time  and   space. 

5.  Uses  standard  magazines. 

6.  Ball  bearing  construction.    Eliminates  trouble 
and   buckles. 

7.  Finest  workmanship  and  material  throughout. 


THE   NEW 

FEARLESS  CAMERA 

IS 

1.  A  universal  camera  for  both  35  or  50  mm. 
film. 

2.  Built  for  colorwork. 

3.  Is  silent  and  requires  no  booth. 

4.  Ball   bearing  throughout. 

5.  The  only  camera  built  with  all  working  parts 
enclosed   and  running  in  oil. 


THE  FEARLESS  CAMERA  CO. 

Phone  GRanite  7111 
7160  SANTA  MONICA  BLVD.  HOLLYWOOD,    CALIF. 

A  SUBSIDIARY  OF  THE  GENERAL  THEATRE  EQUIPT.  CORP. 


Twelve 


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The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


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May,  19S1  The    INTERNATIONAL    PHOTOGRAPHER  Thirteen 

A  REMARKABLE 
NEGATIVE  FILM 

IN  OW  you  can  have  from  two  to  three 
times  the  speed  of  ordinary  negative, 
especially  under  Mazda  lights  . . .  greater 
exposure  and  developing  latitude  . . .  un- 
excelled color  balance  .  .  .  every  other 
quality  essential  to  the  finest  sound  pic- 
tures, including  typical  Eastman  uniform- 
ity.. .  at  no  increase  in  cost.  Every  test,  in 
the  laboratory,  in  the  studio,  on  the  lot, 
confirms  the  belief  that  Eastman  Super- 
Sensitive  Panchromatic  Negative,  Type  2, 
is  the  most  remarkable  negative  emul- 
sion ever  offered  the  camera  man.  Eastman 
Kodak  Company,  Rochester,  New  York. 
(J.  E.  Brulatour,  Inc.,  Distributors,  New 
York,  Chicago,  Hollywood.) 

Eastman  Super-Sensitive 

Panchromatic  Negative,  Type  2 


Fourteen 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


Rose  Takes  His  Camera 
Into  Local  Beauty  Spots 

IT  may  be  true  a  prophet  is 
not  without  honor  except  in 
rhis  own  country.     And  most 
flRBrv  true  it  is  that  a  photographer  in 

A  search  of  a  subject  sees  beauty 

and  charm  in  a  country  or  a 
town  other  than  his  own.  In 
other  words  it  is  the  natural 
thing  that  familiarity  shall 
breed  indifference  even  if  it  do 
not  reach  the  dignity  of  con- 
tempt. 

Jackson  J.  Rose,  one  of  the 
early  members  of  the  Interna- 
tional Photographers,  while  be- 
tween pictures  was  seized  with 
the  thought  that  within  the 
boundaries  of  some  of  Los  An- 
geles parks  there  might  be 
found  spots  as  yet  unsighted  by 
the    many    hunters    for    photographic  gems. 

One  of  the  first  of  the  locations  sought  by  Mr.  Rose  was 
Lafayette  Park,  ranging  between  Sixth  and  Seventh  streets 
and  forming  the  terminus  from  which  the  majestic  Wilshire 
Boulevard  starts  on  its  approximate  fifteen  mile  crow's  flight 
to  the  sea.    From  the  eastern  side  of  the  park  a  few  minutes' 


Jackson  J.  Rose 


May,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Fifteen 


rive  lands  one  in  the  center  of  the  busy  business  district 
f  Los  Angeles. 

Possibly  no  park  in  Los  Angeles  affords  such  a  striking 
Dntrast  with  its  immediate  surroundings  as  does  Lafayette, 
hown  in  the  photograph  in  the  lower  right-hand  corner  of 
tie  preceding  page.  Mirrorlike  pools  reflect  the  heavy  foli- 
ge  of  the  trees  which  in  turn  provides  shade  for  graveled 
ralks. 

Directly  overhead  is  a  glimpse  of  Hollenbeck  Park,  at  East 
'ourth  street  and  Boyle  Heights,  just  outside  the  business 
istrict  on  the  south. 

To  the  right  of  the  latter  picture  is  what  Mr.  Rose  has 
amed  "Sunlit  Shadows."  It  was  photographed  near  the 
icnic  grounds  in  Griffith  Park,  those  four  thousand  acres 
f  mountain  and  valley  and  plain  which  with  the  exception  of 
he  beaches  form  the  principal  within-the-city  playground  for 
le  residents  permanent  and  temporary  of  Los  Angeles. 

Below  is  one  of  the  drives  near  the  picnic  grounds  in 
[riffith.  The  road  leads  to  the  famous  Griffith  Park  golf 
Durse,  one  of  the  most  popular  recreation  spots  in  the  city. 

The  upper  left  panel  brings  us  to  one  of  the  beauty  spots 
f  Los  Angeles.  It  is  a  lesser  known  area  paralleling  for  a 
alf  mile  on  the  west  the  prolongation  of  the  Western  avenue 
ntrance  to  the  park.  The  gardeners  have  constructed  or 
erhaps  preserved  and  enhanced  a  jungle-like  glen  of  brook 
nd  fern  and  rock  and  log  and  tree,  interlaced  with  graveled 
ralk,  such,  for  example,  as  we  see  below. 

In  the  lower  picture  of  the  right-hand  panel  will  be  found 
nother  shot  in  this  same  half  mile  of  beauty,  a  visit  to 
rhich  well  will  repay  either  visitor  or  resident. 

In  the  upper  half  of  the  right-hand  panel  is  a  reproduction 
I  some  gnarled  old-timers  found  near  the  zoo  in  the  north- 
rn  part  of  Griffith  Park. 


Sixteen 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


Tielieving  Excessive 
Production  Costs 


a 


If     it 


s   not   a 


CONSISTENTLY  striving  to 
anticipate  as  well  as  to  meet 
the  demands  of  advanced  motion  picture 
production,  j£a&e*^fe4  continue  to 
contribute  to  the  motion  picture  indus- 
try countless  incandescent  lighting  fea- 
tures developed  and  produced  at  con- 
siderable cost  after  long-time  tests  — 
with  intensive  study  given  to  the  req- 
uisites of  modern  production  —  features 
that  in  their  proven  indispensability  to 
the  industry  relieve  the  motion  picture 
producer  of  necessity  for  experimental 
work  which  greatly  adds  to  his  costs. 

These  important  «^^r  develop- 
ments are  protected  both  here  and 
abroad  by  Lakin  Corporation — a  mani- 
festation of  pride  for  a  product  that 
today  is  recognized  as  the  utmost  in 
studio  lighting  equipment. 


it's   not    silent! 


)) 


LAKIN  CORPORATION 


1707  Naud  Street 


Los  Angeles,  California 


CApitol  14118 


($ream  oth Stills 


c^^L'O* 


//  */om  womM  star*  f/ie  summer  right  come  into  Coachella  Valley  with  Shirley  Martin — assuming  of  coarse  you 
are  strong  on  heat.  If  at  all  susceptible  to  the  effects  of  a  rising  thermometer  better  make  the  date  for  January 


.*^r'o„. 


Gream  oth Stills 


rf!^?oA 


°CRN*" 


With  Chief 
Photographer 

J.  M.'F.  Haase, 
U.S.N.,  look  down 
upon  the  ice-capped 
summit  of  Mount 
Fair  weather, 
Alaska,  the  first 
close-up  camera 
record  of  this 
elevation  of  15,460 
feet.    Not  even 
fur-lined  suits, 
chamois  face  masks, 
double  gloves  and 
fleece-lined  mocca- 
sins over  boots 
could  stop  the 
unspeakable  cold 


"Merced  River 
Rapids"  is  the  best 
information  obtain- 
able from  Les 
Rowley    regarding 
this  interesting  shot 
of  tumbling  water 
— a  teaser  to  a  man 
who  owns  a  pair  of 
hip  boots  and  a 
fishin'  pole 


*w,~ 


"°CR^ 


Qream  oth^tills 


„SAT/o 


'°6rn*" 


//  you  have  suffi- 
ciently recovered 
from  the  chill  of 
that  Alaskan 
summit  take  a  peek 
at  the  power 
schooner  Eloria 
frozen  in  plenty 
near  Flaxman 
Island  in  the  Arctic 
Ocean.     Will  E. 
Hudson  of  Pathe 
News  tells  us  just 
this  and  not  another 
word,  but  his  picture 
speaks  volumes 


What  press  agents 
these  photographers 
are — not! 
Oliver  Sigurdson 
goes  so  far  as  to 
stamp  his  name  on 
the  back  of  the 
original  of  th  is 
picture,   leaving  it 
to  the  imagination 
of  the  editor. 
Well,  it  looks  like 
one  of  those 
impromptu   cabins 
we  used  to  see  in 
the  Bronco  Billy 
westerns — and 
nmaybe  it  is 


Mack  Elliott  gives  us  a  flash  of  the  Biy  Tree  Grove  at   Wawona,  California.     The  deep  calm   of  the  sylvan 

setting  has  settled  down  upon  the  tempestuous  Lupe  and  the  temperamental  Ri)i  Tin   Tin,   the  former  seated 

upon   a   chair   that   has   been    rooted   to   the  spot  for   thousands  of  years 


May,  19.il 


The    INTERNATIONAL    PHOTOGRAPHER 


Seventeen 


// 


HOT  POINTS 


CONDUCTED  BY  MAURICE   KAINS 


// 


SINCE  there  still  is  considerable 
controversy  among  assistant 
cameramen  regarding  their 
choice  of  studios,  systems  and  equip- 
ment, let  me  speak  my  mind  on  the 
subject  right  here  and  now.  By  act- 
ual experience  in  almost  all  of  the 
studios  I  find  that  the  equipment  in 
use  by  the  Fox  organization  is  the 
most  portable,  the  least  complicated 
and  requires  less  time  in  changing 
set-ups. 

Its  most  competent  corps  of  cam- 
era machinists  is  ever  devising  new 
and  better  equipment  or  is  servicing 
the  outfits  to  perfection.  Here  is,  for 
example,  a  most  clever  and  efficient 
follow-focus  device  which  is  simplicity 
itself. 

The  accompanying  photograph 


Follow    Focus    Device 

needs  almost  no  explanation.  It  is 
the  product  of  Grover  Laube,  who  is 
in  charge  of  the  camera  research  de- 
partment, and  his  associates,  Charles 
J.  McGraw  and  Charles  M.  Miller. 
These  men  deserve  our  congratula- 
tions for  this  progressive  step. 

Each  lens  mount  is  fitted  with  a 
little  knob  over  which  a  snap  socket 
fits  snugly.     This  eliminates  the  loose 


play  or  back  lash  of  gears.  The 
socket  is  part  of  an  arm  which  is  con- 
nected to  another  arm  by  means  of  a 
snap  socket  at  a  lower  point.  This 
second  arm  runs  directly  through  the 
entire  length  of  the  interior  of  the 
iris  rod,  where  it  is  out  of  the  way. 
A  quadrant  is  affixed  to  the  end  of 
the  iris  arm  and  can  be  adjusted  at 
any  desired  angle  and  then  clamped. 

Quickly    Dismounted 

Various  engraved  calibrated  cellu- 
loid strips  fit  into  a  curved  slot  on  the 
quadrant  and  correspond  precisely  to 
the  lens  in  use.  A  handle  with  pointer 
completes  the  accessory.  It  can  be 
locked  at  any  point.  In  shots  where 
the  follow  focus  is  not  required,  the 
snap  socket  arm  is  quickly  detached 
from  the  lens.  The  whole  device 
comes  apart  in  a  second.  Its  most  at- 
tractive feature,  however,  is  this: 

In  watching  the  action  it  is  not 
necesary  to  turn  the  head  away  from 
the  action  to  look  at  the  calibrations, 
and  the  lens  stop  cannot  become  acci- 
dentally disturbed. 

Mr.  Laube  also  has  used  a  flexible 
cable  for  operating  the  device  in  cases 
where  the  assistant  could  not  be  close 
to  the  lens. 

Note  the  large  finder  bracket  en- 
ables the  camera  cover  to  clear  the 
equipment  nicely. 

Measuring    Short    Ends 

"Imagine  my  embarrassment"  .... 
"We  ran  out  of  film  on  that  shot"  .... 
"It  was  the  loader's  fault"  ....  "He 
didn't  have  the  correct  footage 
marked  on  that  short  end." 

And  so  we  find  a  device  in  use  at 
Technicolor  which  eliminates  that 
"take  a  chancey"  feeling. 

It  is  a  shoe  salesman's  measuring 
rule  converted  to  show  the  exact  num- 
ber of  feet  in  a  roll  of  film  of  any  size 
up  to  a  thousand  feet,  to  be  employed 


in  cases  where  only  one  size  of  spool 
is  used.  The  photograph  tells  the 
story. 

One  studio  uses  a  pair  of  calibrated 
calipers  for  measuring  from  the  in- 
side of  the  roll  to  the  outside  dia- 
meter. The  spool  is  first  partially 
removed. 

Another  studio  uses  a  weighing 
scale  and  measures  the  footage  exact- 
ly by  the  weight  of  the  film.  Now 
that  faster  film  is  coming  in  we'll 
probably  have  to  use  less  light  in  the 
darkroom,  which  may  necessitate  a 
change  in  your  methods  of  determin- 
ing exact  footage  of  short  ends.  Take 
your  choice! 

Come  on,  fellows,  send  in  some 
"Hot  Points"  and  help  a  fellow  out. 
I  ran  diy  for  a  long  time. 


Device  for  Measuring  Short  Lengths 

Columbia  Buys  Caves  Film 

Elmer  G.  Dyer  has  sold  to  Colum- 
bia Pictures  the  two-reel  subject  of 
the  Carlsbad  Caves  in  New  Mexico. 
Aided  by  Hatto  Tappenbeck  the  pho- 
tographer took  many  shots  from  the 
mountains  covering  the  caverns, 
showing  the  heavy  banks  of  clouds 
the  vapors  of  which  were  responsible 
for  the  remarkable  formations  inside 
the  caves. 

The  two  men  with  their  equipment 
penetrated  to  the  floor  of  the  caverns 
800  feet  below  the  surface. 


Double  Exposure 

Motorized  Policeman — How  did  this 
accident  happen? 

Motorized  Inebriate  —  Hie — I  saw 
two  bridges — hie — musta  ran  over  the 
wrong  one. 


Mickey  Marigold  brings  in  these  stills  in  illustration  of  the  manner  in  which  directors  secure   explosion   shots.     The 
picture  on  the  left  first  was  taken,  then  the  second  and  then  one  was  printed  over  the  other.     The  finished  result   >'« 

shown  in  the  picture  on  the  right 


Eighteen 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


Engineers  Name  Groups  to 

Study   Projection   Practice 

THE  Society  of  Motion  Picture 
Engineers  has  begun  a  special- 
ized study  in  all  phases  of  mo- 
tion picture  projection  and  has  ap- 
pointed three  separate  committees  to 
carry  out  the  work. 

The  committees  consist  of  projec- 
tion practice,  projection  theory,  and 
projection  screens,  with  H.  Rubin,  W. 
B.  Rayton  and  S.  K.  Wolf  acting  as 
chairman  of  each  committee  respec- 
tively. 

The  projection  practice  committee 
is  dealing  with  problems  such  as  the 
ideal  layout  of  the  projection  room 
and  is  collaborating  with  theatre 
architects  to  insure  the  most  satisfac- 
tory  location   of  the  projection   room. 

Other  problems  under  investigation 
are  projection  room  routine  and 
maintenance,  monitoring  and  control 
of  sound  in  the  theatre,  improvements 
in  projector  design  and  accessories, 
film  buckle,  prevention  of  film  mutila- 
tion, and  fire  prevention. 

The  projection  theory  committee  is 
making  studies  of  the  optical  system 
of  the  projector,  methods  of  diminish- 
ing eye  strain,  projectors  with  optical 
intermittents,  and  rear  screen  projec- 
tion. 

The  projection  screens  committee 
is  assembling  data  concerning  the 
optical  and  acoustical  characteristics 
of  screens,  and  from  these  data  will 
make  recommendations  to  the  stand- 
ards committee  of  the  society  on  a 
standard  of  screen  intensity. 


Curtis  After  Hole  in  One 

Returns  to  Rochester  Home 

Edward  P.  (Ted)  Curtis,  sales  man- 
ager of  the  motion  picture  division  of 
the  Eastman  Kodak  Company,  left 
Hollywood  for  Rochester  April  27. 
Mr.  Curtis  has  been  in  Hollywood 
since  January  14,  and  during  his 
stav  has  bought  a  home  in  Beverly 
Hills.  It  is  his  intention  to  live  on 
the  west  coast  at  least  four  months 
in  each  year. 

Whether  Mr.  Curtis'  return  to 
Rochester  was  hastened  in  any  man- 
ner by  an  adventure  experienced  bv 
him  on  April  18  is  not  definitely 
known  by  his  friends. 

On   the    dav    mentioned    Mr.    Curtis 


from  the  tee  of  the  fourth  hole  at  the 
Riviera  Club  smacked  a  ball  on  Lo 
the  green  for  a  hole  in  one.  The  dis- 
tance is  225  yards  and  the  green  is 
so  fortified  in  front  by  traps  it  was 
necessary  to  plant  the  ball  on  the 
green  to  accomplish  the  feat. 

It  is  the  golfer's  first  hole  in  one, 
and  an  achievement  not  only  to  write 
home  about  but  one  really  justifying 
a  personal  delivery  of  the  message. 


Local  683  Will  Fight  for 

Loving  Cnp  on  Golf  Links 

OF  INTEREST  to  all  film  tech- 
nicians members  of  Local  683, 
I.A.T.S.E.,  will  be  the  golf  tourna- 
ment to  be  held  by  that  organization 
at  Sunset  Fields,  Course  No.  2,  Mav 
24. 

The  arrangements  committee  is 
T.  C.  Bryan,  Harry  Low,  Charles 
Dexter,  James  Bray,  Robert  Shaw, 
Harold  Palmer,  Julius  Cindrich  and 
Norman  Carlin. 

A  handsome  loving  cup  and  other 
prizes  will  be  awarded  to  the  winners. 

Business  Representative  Karl 
Kountz  will  answer  all  inquiries  at 
the  organization's  office,  1605  North 
Cahuenga  Avenue,  Room  14. 


Len   Powers   Directs   Monks 

in  First  "Coo-Coo  Capers'1'' 

LEN  POWERS  of  the  Interna- 
tional Photographers  has  di- 
rected "His  Gal,"  first  of  the 
Coo-Coo  Capers  Series.  The  entire 
cast  is  composed  of  monkeys.  To  be 
sure  these  do  lean  on  humans  for  the 
dialogue,  which  was  written  by  Al 
Martin.  Courtis  Mick  and  Ernie 
Kline  wrote  the  story.  Hap  Depew 
photographed  the  picture,  Dean  Daily 
assisting. 

The  subject  was  previewed  at  the 
Belmont  early  in  April  and  made  a 
good  impression.  Especially  respon- 
sive to  the  dialogue  and  the  gymnas- 
tics were  the  youngsters;  they  were 
far  more  interested  in  what  the  simi- 
ans did  than  in  what  they  presumably 
were  saying. 


Cameramen  Agree  Blimps 

Are  Objectionable  On  Set 

SIXTY  first  cameramen,  represent- 
ing all  Hollywood  studios,  replied 
to  the  questionnaire  on  camera 
silencing  sent  out  by  the  Academy  in 
March.  Of  the  replies  91  per  cent 
advocate  strong  efforts  toward  the 
development  of  cameras  which  will 
not  require  blimps  or  covers. 

The  weight  of  the  blimps  in  use  was 
condemned  by  90  per  cent  of  the  re- 
plies, and  the  bulk  by  87  per  cent. 
Over  half  said  the  blimps  made  focus- 
ing difficult  and  73  per  cent  said  they 
crowded  the  sets  uncomfortably  on 
close-ups.  Practically  every  tyne  of 
camera  cover  in  use  in  Hollywood  was 
criticised  for  one  or  more  of  these 
reasons. 

At  the  meeting  of  the  producers- 
technicians  committee  April  16  it  was 
resolved  to  bring  this  situation  to  the 
attention  of  the  camera  manufactur- 
ers and  inquire  what  efforts  are  being- 
made  toward  the  production  of  a 
silent  camera.  The  committee  will 
offer  to  have  studio  experts  confer 
with  the  manufacturers. 

The  committee  expressed  its  appre- 
ciation of  the  cooperation  of  the 
cameramen. 

The  questionnaire  also  inquired  the 
effects  of  directional  microphone  de- 
vices (concentrators,  ribbon  micro- 
phones, etc.),  and  also  of  "noiseless 
recording"  systems.  The  replies,  how- 
ever, revealed  that  too  few  camera- 
men have  worked  with  any  of  these 
devices  to  permit  generalization  as  to 
their  effects. 

Several  leading  cameramen  ex- 
pressed the  opinion  that  the  develop- 
ment of  adequate  concentrators  would 
reduce  the  importance  of  silencing  the 
camera. 


Peggy,  the  chorus  girl,  says  she 
joined  the  movies  because  on  her  last 
job  as  an  artist's  model  she  made 
only  a  bare  living. 


Kling  Does  It  Again 

Clifton  L.  Kling  has  gone  and  done 
it  again.  The  still  which  served  as 
copy  for  the  front  cover  of  the 
March  International  Photographer 
has  been  selected  by  Screenland  for 
May  as  "the  most  beautiful  still  of 
the  month."  The  picture  was  taken 
for  M-G-M's  "Shipmates."  This 
award  to  Mr.  Kling  makes  the  eighth 
he  has  received  from  Screenland  in 
an   even  two   years. 


ELMER  G.  DYER 

Photographer  of  Aerial  Shots  On 

DIRIGIBLE 

HE8116 

A  Columbia  Production 

HE1128 

Maij,  19.il 


The    INTERNATIONAL    PHOTOGRAPHER 


Nineteen 


era 


/RA  HOKE 


Alas,    Poor    Yorick 

Where  is  the  tragedian  of  yester- 
year whose  life  ambition  was  to  play 
a  role  from  the  pen  of  the  Immortal 
Bard?  Certainly  he  is  not  to  be 
found  on  Hollywood  Boulevard,  as  is 
witnessed  by  this  scrap  of  conversa- 
tion overheard  on  that  famous 
thoroughfare. 

"Would  you  like  to  play  Hamlet?" 
queried  the  Variety  reporter. 

"Not  unless  he'd  give  me  a  stroke 
a  hole,"  countered  the  veteran  actor. 

Fiend  for  Exercise 

Strolling  down  Cahuenga  Avenue — 
Letter  carrier  coming  out  of  tennis 
shop  proudly  examining  a  new  tennis 
racquet. 

Meow 

The  cameraman  had  been  annoyed 
all  day  by  a  chorus  girl  who  persisted 
in  asking  questions  about  every  con- 
ceivable part  of  the  equipment.  At 
length  in  desperation  the  cameraman 
blurted  out: 

"Miss,  don't  you  know  that  curios- 
ity once  killed  a  cat?" 

"Is  that  so?"  asked  the  chorine, 
"What  did  the  cat  want  to  know?" 

Keewee 

Cameraman — You  sure  had  me 
scared  the  way  you  were  flying  that 
ship  around — that's  the  first  time  I 
ever  flew. 

Aviator — I  know  just  how  you  feel, 
sir;  that's  the  first  time  I  ever  flew 
one. 

Wasted   Effort 

The  movie  company  was  making  a 
sea  story  on  the  old  Norwall  in  the 
Catalina  channel.  During  the  lunch 
hour  an  unusually  high  sea  washed 
the  efficiency  man  overboard.  He 
was  rescued  by  a  wide-awake  prop- 
ertyman. 

"What  can  I  do  to  reward  you,  my 
friend?"  said  the  efficiency  expert 
coughing  up  a  goodly  amount  of  chan- 
nel water. 

"The  best  way,"  answered  the 
propertyman,  "is  to  say  nothing  about 
it.  If  the  rest  of  the  company  knew 
I  pulled  you  out  they'd  chuck  me  in." 

Oh,   Gosh!    Oh,  Gee! 

Lab  man — I  get  a  kick  every  time 
I  kiss  Betty,  the  cutter  girl. 

Cameraman  (absently)'— She  doesn't 
object  to  me. 

Silent    Production 

Second  Cameraman  —  My  wife 
doesn't  speak  to  me  for  days. 

First  Cameraman — What's  the  idea  ? 

Second  Cameraman — I'll  sell  it  to 
you  for  fifty  dollars. 

Traveling  Salesman 

A  clergyman  was  sitting  at  the 
same  restaurant  table  with  a  stranger. 


He  spread  a  plentiful  layer  of  sauce 
over  the  steak,  then  passed  the  bot- 
tle to  the  stranger,  who  tried  it  spar- 
ingly and  gasped: 

"I  suppose  you  preach  Hell-fire  and 
damnation  ?" 

"Why,  of  course,"  answered  the 
clergyman. 

"Well,"  replied  the  other,  "you're 
the  first  parson  I've  found  who  took 
his  samples  with  him." 

Dawn  in  Hollywood 

A  well  lit  actor  banged  lustily  on 
the  last  door  down  the  hall. 

"Shay,  is  this  Billy  Bing's  apart- 
ment?" 

"Yes,  what  do  you  want?" 

"Well,  will  you  pleash  come  down 
and  pick  out  Billy  so  the  rest  of  us 
can  go  home?" 

Seventeen's    a    Crowd 

A  Beverly  Hills  society  woman 
wrote  to  a  movie  director:  "Mrs.  J. 
Bentley  Manners  requests  the  pleas- 
ure of  Mr.  Donleigh's  company  at 
dinner  on  April   10th." 

The  following  day  she  received  this 
note  of  acceptance:  "With  the  excep- 
tion of  the  mixer  and  the  chief  elec- 
trician, who  have  to  double  on  another 
unit,  Mr.  Donleigh's  company  accepts 
with  pleasure  Mrs.  Bentley  Manners' 
invitation  for  April  10th." 

Secret  Formula 

A  certain  Scotch  cameraman  who  is 


addicted  to  amateur  photography  re- 
cently went  to  the  Braun  Corpora- 
tion to  get  an  empty  bottle.  Selecting 
one  that  suited  his  purpose,  he  asked 
the  price. 

"If  you  just  want  the  bottle  we 
charge  25  cents,"  said  the  clerk,  "but 
if  you  want  something  in  it  we  don't 
charge  for  the  bottle." 

"That's  fair  enough,"  said  the  cam- 
eraman, "put  in  a  cork." 

Light  Housekeeping 

"George,  George,"  screamed  tin 
sweet  young  wife,  "baby  has  swal- 
lowed all  the  matches.  Oh,  George, 
what  shall  I  do?" 

"Here,  try  my  cigarette  lighter." 
answered  the  nonchalant  George. 

Appropriate 

Why  did  Smith  name  his  babv 
"Bill"? 

Because  he  arrived  on  the  first  of 
the  month. 

No  Fooling 

Second — Yep,   times    have   changed. 

Assistant — Zat  so? 

First — You  bet.  It  used  to  be  that 
when  a  man  was  run  down  he  took  a 
tonic.     Now  he  takes  an   ambulance. 

Historical  Note 

Swimming  did  not  become  a  nation- 
al pastime  in  Scotland  until  the  in- 
vention of  toll  bridges. 


This  Super  Sensible  Film  Thing 
Has  Ihari  Kardi  Utterly  Desolated 

Hon.  Howard  Hurd  &  Brother,  Business  Representative  Location  659. 
Dear  Mr.  &  Sir: 

As  I  am  Japanese  assistant  cameraman  and  a  green  ticket  member 
of  Location  659,  I  bow  in  my  middle  to  you  in  greeting. 

I  have  much  reading  on  the  subject  of  Super  Sensible  film  being- 
made  by  Hon.  DuPont  and  Hon.  Eastman.  After  absorbing  into  my 
knowledge  many  gammas,  balances,  longitudes  and  SPEED,  I  am  writ- 
ing in  letter  to  you  this  question  for  a  puzzle. 

Directions  for  loading  this  super  film  are  as  follows: 

1.     "Load   in  complete   darkness." 

Now,  Hon.  Mr.  Hurd,  I  desire  to  impart  to  my  memory  how  dark 
is  "complete."  Because  this  new  film  is  so  very  sensible  to  the  least  light 
I  have  entertainments  of  fear  and  misgiving  about  opening  tin  cans  in 
ordinary  dark  room.  Is  it  necessary  to  render  the  darkness  in  my  dark 
room  a  very  dark  black  darkness  before  opening  cans?  If  so,  how  can 
it  be? 

Hon.  Sir,  I  would  depreciate  a  careful  answer  as  I  realize  loading 
must  be  done  in  sufficient  darkness  that  a  double  exposure  of  my  face 
does  not  appear  on  this  very  rapid  film  along  with  artistic  interruptions 
placed  thereon  by  my  Hon.  1st  cameraman.  Otherwise  my  face  will  be 
double-exposed  upon  the  out-of-working  list  also. 

Hoping  you  are  same, 

Fraternally  yours, 

IKARI  KARDI. 


Twenty 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


J«**fc'  ^"pODAYin 

Andalus- 

ian  Spain 

there    still    re- 

<  mains  a  sleep- 

^prAjf  ing    city    un- 

3    ^r  spoiled   by  the 

™  onrush    of    a 

Esselle  Parichy  commercial 
J  world,  where 
no  gigantic  Neon  lights  blaze  bril- 
liant benedictions  on  her  mediaeval, 
evening  skies.  This  city  is  Granada, 
the  traditions  of  which  are  mellow 
with  age,  and  old  customs  survive 
and  gem  with  vivid  reflections  from 
the  highly  polished  civilization  of 
the  Moor,  who  left  his  imprint 
down  the  Steps  of  Time. 

The     high     serpentining     Sierra 
Nevadas  in  their  perpetual  mantle 


With  His  Q 
Parichy  n 

By  esji 

Upper   row,   reading  from  lei 

right : 
The  Gate  of  Justice  .  .  .  the  t 

portal  of  the  Alhambra. 
The  Court  of  Lions  in  the  Alhau 
at  Granada,  where  gory  seen 
foul     butchery     and    flam 
swo?~d  were  enacted. 
The     Court     of     Canal— with' 
closely    cropped   hedge  mir,* 
in  the  canal  below. 
Center  row : 

One   of  the   picturesque  yuan 
the  Alhambra  at  Granada. 


May,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-one 


and  Pen 
Hd  Granada 


jCHY 

vrish   window   in   one   of   the 
ts  of  the  Alhambra. 
I  row  : 

'f  the  winding  trails  in  the 
ktainside  descending  the  Al- 
;mbra  Hill. 

Uhambra  at  Granada,  the 
ited  magnificence  and  grim 
rbidding  walls  of  which  com- 
ind  the  city  below, 
untain  at  the  Gate  of  Justice 
e  Alhambra  at  Granada,  de- 
ding  the  three  rivers  of 
\anada. 


of  white  form  the  backdrop  of 
Granada's  stage.  Off  in  the  dis- 
tance is  Boabdil's  "Hill  of  Tears," 
and  below  the  airy  heights  shrouded 
in  purple,  red  and  green  draperies 
nestles  this  quaint  City  of  the 
Pomegranate  with  its  fountains 
and  orange-bordered  paths. 

The  undulating  hills  form  a 
huge  amphitheater  dotted  with  the 
whitewashed  walls  and  red  tile 
roofs  of  humble  abodes;  down 
through  green  fringed  cavities 
murmuring  waters  tumble  to  cool 
the  aromatic  fragrance  of  small 
patios,  where  solemn  eyed  inhabi- 
tants dream  through  chiffon  shad- 
ows of  a  lazy  topaz  sun,  while  love- 
ly days  and  the  breathless  beauty 
(Continued   on    Page   32) 


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m   I    J 

Twenty-two 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


'  In  on  Just  a  Few  New  Ones 


LADIES'  MAN 

Victor  Milner,  Cameraman 

PARAMOUNT  production  chiefs 
are  to  be  congratulated  on  the 
possession  of  sufficient  sand  to  al- 
low a  story  to  run  its  logical  course, 
even  to  an  "unhappy  ending,"  as  the 
strange  expression  goes.  This,  being- 
interpreted  for 
the  benefit  of 
those  untouched 
by  amusement 
traditions,  means 
a  tragedy,  and  in 
this  instance  the 
death  of  the  chief 
character  in  the 
story.  It  is  truly 
a  surprise  finish, 
partly  perhaps 
because  the  more 
or  less  seasoned 
picturegoer     has 

been    trained    to         Victor    Milner 
expect    anything   before   the   death    of 
the  first  character  in  a  story. 

"Ladies'  Man"  is  a  good  picture, 
especially  on  the  side  of  the  dialogue, 
which  is  of  the  ultra-smart  type. 
There  is  every  reason  it  should  be  so, 
seeing  that  the  production  was 
adapted  from  Rupert  Hughes'  novel 
of  the  same  name.  Herman  J.  Man- 
kiewicz  is  responsible  for  the  screen 
play. 

Under  the  direction  of  Lothar 
Mendes  the  story  from  the  drop  of 
the  hat  takes  on  a  touch  of  distinction, 
like  unto  that  of  a  cleverly  conceived 
and  executed  stage  play  about  people 
of  means  and  education  and  especial- 
ly of  keen  wits. 

One  of  the  toughest  handicaps  to 
be  overcome  by  the  finished  product 
is  its  title,  redolent  of  some  sweet- 
scented  exotic  not  exactly  filled  with 
appeal  for  the  average  male  person. 
The  completed  product  is  quite  to  the 
contrary,  and  in  this  respect  a  pleas- 
ant surprise.  The  average  male  is 
likely  to  find  William  Powell's  charac- 
terization such  that  strange  as  it  may 
seem  in  many  respects  it  might  qual- 
ify as  that  of  a  "regular  guy,"  one 
whose  death  under  such  circumstances 
would  be  regrettable. 

The  picture  is  notable  for  several 
particularly  strong  individual  inter- 
pretations. Olive  Tell  as  the  matron 
with  a  busy  husband  and  who  falls  in 
love  with  the  ladies'  man  and  who 
gives  him  her  jewelry  along  with  her 
affection  has  a  part  that  ranks  at  the 
top  in  interest  and  dramatic  impor- 
tance. 

Carole  Lombard  as  the  daughter  of 
this  matron,  also  so  madly  in  love  with 
the  hero  that  like  her  mother  she  is 
ready  to  kill  him  rather  than  see  him 
fall  into  the  arms  of  another  woman, 
mingles  a  bit  of  comedy  in  her  char- 
acterization that  proves  strongly 
dramatic  at  times.  She  plays  a  per- 
fect souse,  of  the  crying  and  fighting 
kind,  one  that  will  stand  out. 

Kay  Francis  as  the  woman  selected 
by  the  hero  when  it  comes  to  marry- 


By  GEORGE  BLAISDELL 


ing  has  little  to  do  in  the  first  half  of 
the  picture  but  has  abundant  oppor- 
tunity as  the  tale  nears  its  end.  Hers 
is  a  fine  performance,  as  with  such  a 
role  it  is  bound  to  be. 

Gilbert  Emery  has  the  part  of  the 
business  man  too  much  absorbed  in 
moneymaking  to  dance  attendance 
upon  his  wife's  social  engagements, 
the  man  who  at  the  end  when  he 
learns  his  wife  and  his  daughter  each 
intends  to  kill  Darricott  decides  to 
take  that  duty  upon  himself  and  spare 
them  the  task.  It  is  a  thrilling  finish, 
with  the  drop  of  the  victim  over  the 
balcony  to  the  pavement. 

The  production  is  given  the  advan- 
tage of  noiseless  recording.  As  the 
staffs  progress  in  experience  with  this 
new  device  the  contrast  between  pic- 
tures of  the  present  and  the  recent 
past  is  most  striking. 

Much  care  and  expense  have  been 
lavished  on  the  making  of  the  picture, 
which  will  qualify  as  high  class  in  all 
departments. 


KICK   IN 

Victor  Milner,  Cameraman 

THERE  are  thrilling  moments  in 
Paramount's  "Kick  In,"  star- 
ring Clara  Bow.  It  just  hap- 
pens that  Bartlett  Cormack  so  adapt- 
ed the  play  by  Willard  Mack  that  the 
burden  of  the  work  falls  not  on  the 
billed  chief  player  but  on  Regis  Too- 
mey  mainly  and  Wynne  Gibson  in  a 
lesser  degree. 

Toomey  carries  the  burden  easily 
and  to  the  entire  satisfaction  of  those 
who  admire  thoughtful  acting.  Miss 
Gibson's  Myrtle,  wife  of  a  wounded 
and  dying  burglar,  is  a  pathetic  fig- 
ure, one  commanding  deep  sympathy. 
James  Murray  is  the  husband. 

Donald  Crisp  is  the  irritated  head 
of  the  police  board,  caught  between 
the  rage  of  the  district  attorney  when 
the  family  jewels  are  stolen  and  the 
sneers  of  the  public.  Paul  Hurst  is 
an  unscrupulous  detective  who  gets 
a  smack  behind  the  ear  with  the  flat 
of  a  pistol  in  the  hand  of  the  heroine 
when  he  double  crosses  that  young 
woman   and  her  husband. 

Juliette  Compton  contributes  an 
entertaining  bit  in  the  role  of  a  suc- 
cessful underworld  character  who 
maintains  her  poise  in  the  face  of  a 
severe  police  grilling.  Leslie  Fenton 
has  a  tough  part  as  a  dope  fiend 
brother  of  the  heroine. 

It  is  a  good  cast  Director  Richard 
Wallace  has  selected  to  fortify  Miss 
Bow,  who  is  not  called  upon  to  dis- 
play any  large  dramatic  effort.  The 
role  is  a  serious  one,  to  be  sure,  a 
departure  from  the  frivolous  kind 
that  have  gone  before.  It  is  likely 
a  forerunner  of  a  different  note  in 
the  Bow  pictures — an  intimation  that 
hereafter  she  will  be  seen  in  pictures 
carrying  real  entertainment  with  a 
background  of  drama  that  will  be  in- 


trusted to  players  especially  quali- 
fied to  transfer  it  properly  to  the 
screen. 


FATHER'S  SON 

Art  Miller,  Cameraman 

NOT  to  be  outdone  by  Paramount 
with  its  boyhood  stories  of  "Tom 
Sawyer"  and  "Skippy"  First 
National  steps  into  the  ring  with 
"Father's  Son."  The  Burbank  pro- 
duction staff  has  done  a  commendable 
piece  of  work.  In 
the  first  place  it 
has  rested  its  case 
upon  a  rarely 
simple  story;  and 
it  has  not  cheap- 
ened it  by  slip- 
ping into  the  trap 
made  ready  to 
hand  by  the  story 
— of  building  a 
romance  between 
the  doctor  friend 
?f  the  boy  and  his 
mother  separated 
from  the  father.  Art  Miller 

The  sequence  or  series  of  sequences 
remained  untainted,  as  wholesome  as 
any  one  might  wish.  The  friendship 
between  the  doctor,  finely  played  by 
John  Halliday,  and  the  boy  continued, 
one  of  the  finest  phases  of  the  tale. 

Leon  Janney  is  Bill,  the  hero  of  this 
everyday  story  of  a  boy  who  in  spite 
of  his  multiplied  seeming  misbehavior 
somehow  always  follows  the  lines  you 
personally  would  select  were  you  for 
the  moment  his  guide  and  mentor. 

Lewis  Stone  is  the  father,  an  every- 
day sort  of  father,  too.  There  is  noth- 
ing exaggerated  about  the  characteri- 
zation. Ask  any  boy  his  opinion  of 
the  father  he  sees  on  the  screen  and 
its  better  than  an  even  wager  he  will 
offer  to  swap  with  Bill.  In  fact, 
Stone's  characterization  is  another  one 
of  the  factors  of  the  story  that  give 
it  added  value.  The  subject  has  un- 
questioned strength  without  resort  to 
any  kind  of  exaggeration  or  of  what 
may  be  described  as  harsh  discipline. 

The  third  member  of  this  family 
circle  is  Irene  Rich — and  how  with- 
out apparent  effort  does  she  fit  into 
her  appointed  place !  That  place  is 
the  feminine  head  of  what  in  many 
respects  is  an  ideal  American  family 
— in  the  bearing  of  its  members  one 
to  the  other,  in  the  niceties  as  well  as 
the  plainer  duties  of  home  life. 

Because  that  harmony  is  not  quite 
100  percent  is  the  reason  for  the 
story.  The  inharmonious  element  as 
we  see  it  is  the  inability  of  the  father 
quite  to  catch  the  spirit  of  boyhood. 
In  his  lonely  life  following  the  reluc- 
tant but  determined  separation  of  the 
mother  with  the  son  he  gropes,  in- 
effectively at  first,  for  the  path  that 
will  lead  him  to  a  family  not  only 
reunited  but  tranquil. 

The  drama  that  rides  on  these 
scenes  more  sombre  in  tone  is  of  suf- 


May,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-three 


ficient  power  to  constitute  this  story 
of  Tarkington's  one  of  the  best  the 
screen  has  known  not  for  sons  pri- 
marily but  rather  for  fathers.  In 
fact,  it  well  might  have  been  titled 
"Son's  Father." 

William  Beaudine  directed  the  pro- 
duction from  the  adaptation,  continu- 
ity and  added  dialogue  of  Hope  Lor- 
ing — a  most  creditable  achievement 
on  the  part  of  both. 


GUN    SMOKE 
Archie  J.  Stout,  Cameraman 

HOW  the  man  of  the  range  would 
combat  the  gang  killer  of  the 
East  is  rather  convincingly 
outlined  by  Grover  Jones  and  William 
McNutt  in  Paramount's  "Gun  Smoke," 
directed  by  Edward  Sloman.  It  is  not 
exactly  clear  how  l 
this  mountain 
railroad  town  is 
unable  to  get 
word  through  to 
the  outside  when 
its  inhabitants  are  \  m 

held  under  the 
lash  of  gunmen 
from  the  eastern  A 
part  of  the  coun- 
try, but  if  we 
overlook  that 
point  the  remain- 
der of  the  story 
is  not  hard  to  Archie  J.  Stout 
take.  On  the  contrary  it  is  distinct- 
ly interesting. 

Richard  Arlen  is  featured  as  the 
head  of  the  crew  of  wild  horse  hunters 
who  comes  to  grips  with  Kedge  Dar- 
vis,  leader  of  the  killers,  played  by 
William  Boyd.  The  object  of  the  dif- 
ference is  the  attention  of  Sue  Van- 
cey,  a  rather  colorless  part  rather 
colorlessly  played  by  Mary  Brian. 

The  quartet  that  constitutes  the 
show  is  composed  of  Arlen  and  Boyd 
for  one-half  and  Eugene  Pallette  and 
Louise  Fazenda  for  the  other.  The 
latter  pair  is  a  rare  team,  either  sing- 
ly or  doubly  measurably  qualifying 
under  the  abused  "inimitable." 

Others  substantially  lift  the  story 
on  its  characterization  side.  There 
are  Charles  Winninger  as  Tack  and 
Willie  Fung  as  John  the  Chinese  cook 
and  William  V.  Mong  as  Strike  Jack- 
son. 

The  opening  of  the  story  is  a  side- 
walk murder  committed  by  a  quartet 
of  automobile  killers,  who  following 
the  commission  of  the  crime  take  the 
train  for  the  west  to  "cool  off."  Re- 
sponse to  a  booster  ad  has  opened  the 
gates  of  Bunston  for  them — wide. 
They  are  "big  men." 

The  jam  starts  following  the  dis- 
covery of  gold  by  Strike,  when  the 
easterners  send  home  for  more  men 
and  sew  up  the  town  while  they  get 
away  with  the  gold.  When  the  re- 
turned wild  horse  hunters  hear  of  the 
situation  things  start  moving. 

Dependence  is  placed  not  alone  upon 
markmanship.  There  are  accessory 
aids  such  as  rolling  holders  into  the 
ranks  of  the  frightened  refugee  plun- 
derers or  by  diverting  the  course  of  a 
group  of  panicky  wild  horses  into  the 


same  trail  as  that  occupied  by  Darvis 
and  his  followers. 

There  may  be  plenty  of  dialogue 
in  the  story,  but  also  there  is  an 
abundance  of  action.  In  fact,  in  spite 
of  the  dialogue,  it  is  a  motion  picture 
of  the  old  regime,  and  a  real  western 
at  that.  It  ought  to  be,  seeing  that 
one  of  the  writers  of  the  tale,  Grover 
Jones,  for  many  years  found  this  brand 
of  stories  proving  to  be  the  chief 
source  of  his  ham  and  eggs. 

Those  who  are  surfeited  with  con- 
versazioni, or  gabfests  if  you  will,  be- 
hind three  walls  will  find  welcome  re- 
lief in  a  breath  of  mountain  air  where 
tremulously  and  maybe  badly  broad- 
ened As  are  burned  with  the  prairie 
chips. 


Lee  Garmes 


CITY  STREETS 

Lee  Garmes,  Cameraman 

BOX  office  sticks  out  all  over  Para- 
mount's "City  Streets."  Whether 
you  like  the  underworld  rough 
stuff  or  not  there  is  here  stark  melo- 
drama that  will  stir  your  blood.  You 
may  enter  upon  the  picture  in  an  in- 
different mood,  in 
a  hostile  one, 
even.  You  may 
have  in  your  own 
way  and  after 
your  own  dumb 
fashion  sort  of 
sized  up  the  new 
femme  featured 
lead  and  decided 
you  still  remained 
to  be  shown. 

It  is  just  about 
at  this  point  the 
illusion  takes 
command  of  the 
brain  cells.  When  following  the  con- 
clusion of  the  smashing  penultimate 
sequence  you  gradually  get  yourself 
together  you  realize  your  first  impres- 
sion reflected  no  credit  on  your  selec- 
tive or  judicial  capacity. 

You  have  reached  the  conclusion 
that  Paramount  may  have  in  its  mitt 
a  picture  worth  so  near  seven  figures 
that  what  it  falls  short  of  that  sum 
will  be  negligible. 

Gary  Cooper  comes  out  of  the  realm 
of  the  western  or  outdoor  picture  to 
step  into  a  tale  based  on  the  beer 
racket,  a  general  screen  background 
not  calculated  to  call  for  three  ap- 
proving cheers  on  the  part  of  the 
average  adult  citizen. 

But  behind  the  gripping  story  pro- 
vided by  Dashiell  Hammett,  adapted 
by  Max  Marcin,  put  into  continuity 
by  Oliver  H.  P.  Garrett,  and  directed 
by  Rouben  Mamoulian,  there  rides 
such  an  abundance  of  elemental  ap- 
peal any  thought  of  breaking  new 
ground  is  forgotten.  Then  again  as  a 
sort  of  preparatory  course  as  it  were 
players  in  western  subjects  acquire 
an  acquaintance  with  firearms. 

Possibly  the  major  interest  in  the 
production  on  the  part  of  the  average 
picturegoer  is  the  impression  regis- 
tered by  Sylvia  Sidney,  an  impression 
handicapped  at  the  start  by  the  seem- 
ingly flossy  and  stagey  alliteration  of 
the  new  name. 

There  can  be  no  question  the  new- 


comer plays  her  part — a  hard  one, 
that  of  a  woman  surrounded  by 
racketeers  and  subject  to  their  mur- 
derous orders.  So  well  does  she  play 
it  there  is  a  not  unnatural  interest 
as  to  how  convincing  the  young  wom- 
an also  might  be  in  a  more  softly 
feminine   role. 

Paul  Lukas  is  cast  as  a  Capone. 
With  him  as  associates  are  William 
Boyd,  Guy  Kibbee  and  Stanley  Fields. 
Wynne  Gibson  as  Agnes,  the  favorite 
of  the  gang  leader  discarded  for  a  new 
face,  is  given  plenty  to  do — and  well 
does  it. 

The  high  spots  of  a  fast-moving 
picture  are  the  closing  scenes,  those 
in  which  the  chief  character  "takes 
for  a  ride"  three  leading  racketeers. 
Reversing  the  usual  procedure,  as  the 
layman  visualizes  it,  the  three  occupy 
the  rear  seat  in  a  machine,  but  their 
ready  weapons  are  useless.  If  they 
are  brought  into  play  the  five  persons 
in  the  car  will  be  destroyed  as  the 
machine  leaves  the  road.  It  is  a  hair- 
raising  sequence,  dodging  railroad 
trains  and  negotiating  beetling  switch- 
backs. 

"City  Streets"  is  tall  melodrama. 


Ernest  Palme  t 


A   CONNECTICUT   YANKEE 

Ernest  Palmer,  Cameraman 

WHETHER   or   not   "A    Connec- 
ticut   Yankee"    owes    more    of 

its  paternity  to  Will  Rogers 
than  to  Mark  Twain  has  nothing  to 
do  with  the  issue  of  whether  or  not 
it  turned  out  to  be  a  good  picture. 
And  there  is  like- 
ly to  be  general 
agreement  that  it 
did.  One  of  the 
outstanding  se- 
quences in  the 
production  is 
lifted  by  a  Rogers 
touch,  that  of  the 
tournament,  a 
spectacle  as  well 
as  a  drama  with 
a*  comedy  angle. 
After  Hank  the 
Sir  Boss  is  lifted 
armor  and  all  on 
to  his  horse  he  uncovers  a  lariat  with 
which  he  proposes  to  combat  the 
knight  Sagramor,  a  well  played  char- 
acterization credited  to  Mitchell  Har- 
ris. The  screened  result  may  not  be 
so  funny  in  London,  but  it  surely  was 
a  scream  in  Los  Angeles.  The  knight 
with  his  "pig-sticking"  lance  had  not 
a  chance. 

The  entertainment  quality  of  the 
picture  is  heavily  fortified  by  the  con- 
spicuous presence  of  William  Farnum 
in  the  part  of  King  Arthur.  This 
worthy  representative  of  the  best  on 
the  speaking  stage  provided  a  most 
companionable  foil  for  the  rough  and 
ready  interpreter  of  the  small  town 
radio  announcer,  the  one  heeding  all 
the  traditions  of  the  polished  actor 
and  the  other  letting  the  chips  fall 
where  they  might.  It  is  a  team  hard 
to  match. 

Many  of  the  scenes  take  on  the  pro- 
portions of  a  spectacle.  Among  these 
are  the  tournament  already  referred 
to,    the    mobilization    and    advance    of 

(Continued  on  Page  30) 


Twenty-four 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


In  zJXCernoriatn 


Nealson  Smith  passed  away  April 
10  at  his  home  in  Los  Angeles.  He 
was  42  years  old.  Mr.  Smith  was  one 
of  the  best  known  still  cameramen  in 
the  Hollywood  studios,  having  been 
equally  skilled  in  work  on  portraits 
or  on  the  set.  For  many  years  he 
was  employed  by  Hartsook  in  his  Los 
Angeles  studio.  He  photographed 
practically  all  stills  of  the  late 
Rudolph  Valentino  and  many  of 
Norma  Talmadge.  Mr.  Smith  was  a 
veteran  of  the  late  war. 


Department  of  Agriculture 

Recording  Films  in  Capital 

PRODUCTION  of  sound  pictures 
has  been  initiated  by  the  United 
States  Department  of  Agricul- 
ture in  its  own  studio  in  Washing-ton. 
A  complete  RCA  Photophone  sound- 
on-film  recording  system  was  recently 
installed  by  the  department's  office  of 
motion  pictures  and  the  work  of  scor- 
ing lecture  pictures  is  going  forward. 
The  recorder  has  been  installed  to 
run  synchronously  with  projectors 
equipped  for  the  projection  of  sound- 
on-film,  so  that  it  can  be  utilized  for 
scoring  existing  silent  pictures  with 
sound  effects  or  lectures. 

One  of  the  films  scheduled  for  con- 
version is  the  Indian  sign  language 
film  the  office  of  motion  pictures  is 
making  for  the  Department  of  the 
Interior.  Major  General  Hugh  L. 
Scott,  retired,  will  deliver  the  lecture 
that  is  to  accompany  this  film,  which 
is  designed  to  constitute  a  permanent 
record  of  the  Indian  sign  language. 


Lasher  with  QRSDe  Vry 

The  QRS-De  Vry  Corporation  has 
appointed  Phil  Lasher,  Ltd.,  as  ex- 
clusive western  distributor,  with  of- 
fices at  300  Seventh  street,  San  Fran- 
cisco.   The  company  will  specialize  in 


motion  picture  equipment  and  photo- 
graphic supplies,  dealing  in  both  16 
mm  and  35mm  equipment,  silent  and 
sound  with  a  special  department  on 
visual  education. 

Phil  Meisenzahl,  who  has  repre- 
sented the  parent  company  for  the 
past  twelve  years,  will  join  the  Phil 
Lasher  company  May  1.  Mr.  Meisen- 
zahl will  have  charge  of  the  southern 
district. 


Arnold  Heads  Cinematographers 

At  the  annual  election  of  officers  of 
the  American  Society  of  Cinematog- 
raphers, Inc.,  Hollywood,  the  follow- 
ing were  chosen  for  the  coming  year: 
President,  John  Arnold;  first  vice 
president,  Victor  Milner;  second  vice 
president,  John  W.  Boyle;  third  vice 
president,  Al  Gilks;  secretary,  Wil- 
liam Stull;  treasurer,  George  Schnei- 
derman. 

The  annual  installation  banquet 
was  held   Monday  evening,   April  20. 


Kruse  Musician,  Too 

J.  Henry  Kruse,  a  musically  inclined 
member  of  659,  has  organized  the 
Melodie  Club  Orchestra.  Mr.  Kruse 
specializes  with  a  violin.  Recently  he 
arranged  the  music  for  the  Swedish 
sequence  for  Fox's  "Women  of  All 
Nations." 


Photophone  to  Install  Three 

Rear  Projection  Equipments 

SPECIALLY  designed  RCA  Photo- 
phone sound  reproducing  equip- 
ment modified  to  meet  the  re- 
quirements of  rear  projection  will  be 
installed  in  the  first  three  of  the  ex- 
tensive circuit  of  theatres  to  be  es- 
tablished in  the  principal  cities  of  the 
United  States  by  the  Trans-Lux 
Movies  Corporation. 

Two  of  these  theatres  are  to  be 
opened  in  the  Lefcourt  building,  1619 
Broadway,  and  the  third  in  625  Mad- 
ison avenue,  New  York. 

Rear  projection  will  be  employed  in 
all  theatres  operated  by  Trans-Lux, 
Photophone  installations  being  the 
first  in  New  York  City  since  sound 
motion  pictures  were  introduced. 

Tested  in  a  model  theatre  installed 
at  the  Photophone  engineering  de- 
partment in  East  Twenty-fourth 
street  and  employing  the  new  loud 
speaker  and  directional  baffle,  the  dif- 
fusion of  sound  by  this  system  was 
said  to  have  been  of  exceptional  qual- 
ity and  equally  diffused  throughout 
the  small  auditorium. 

A  number  of  changes  in  the  Photo- 
phone standard  small  theatre  sound 
equipment  were  made  necessary  to 
meet  the  demands  for  rear  projec- 
tion. 


eS^Hc. 


<A? 


'bant** 


@ream  oth Stills 


c^L'O^. 


Below  the  dam  at  Arrowhead  Lake,  a  matter  of  eighty  miles  from  Los  Angeles  and  incidentally  of  a   mile 
in  the  air,  Harry  Parsons  shows  its  a  picture  already  framed  by  Old  Mother  Nature  herself 


^'°* 


<A< 


*°CR/tf* 


Gream  oth Stills 


*.**^?o* 


1°GRtf* 


C/p  in  Yosemite 
National  Park 
Joe  Harris  makes 
this  striking  record 
of  the  Full  Dome 
and  the  Half  Dome 


.       .• 


On  the  mesa  and 

in  the  valley  near 

Lake  Elsinore  of  a 

sunny  February  day 

H.  Blanc  with  his 

keen  photographic 

eye  set  up  his 

camera  to  get  this 

bit  of  charming 

background 


//  you  don't  think 

the  man  who  wields 

the  gavel  over  the 

eight   hundred 

motion  picture 

photographers  of 

the  west  coast  also 

slings  a  mean  lens 

just  analyze  this 

sweeping  view  of 

Mount  Assiniboine 

recorded  by 

Alvin  Wyckoff 


■ 


Bert  Lynch  points 
his  camera  west 
from  Maze  flan, 
where  on  the  line  of 
the  Tropic  of  Cancer 
the  waters  from  the 
Gulf  of  California 
sweep  into  the  broad 
Pacific. 


1 


Clarence  H.  Gutermuth  of  Fort  Wayne,  hid.,  a  member  of  the  Chicago  local,  sends  to  his  California  brothers 

and  through  them  to  the  world  at  large  this  bit  of  Indiana  in  winter,  proving  hoiv  easy  it  is  for  poets  in  that 

country  to  rave  when  the  grass  and  the  leaves  again  burst  forth 


Maij,  19  SI 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-five 


vfz[rnateur jyepartmenti 

Make-  Up  Hints  for  Amateur  Actor 


Showing"  How   Characterization  May  Be   Aided 

Most  Effectively  by  Simplified  Use  of 

Inexpensive  Equipment 

By  KENNETH  F.  SPACE 

Illustrations  Posed  by  Writer 
Photographed  by  Grayce  Stannard 


THE  amateur  movie  maker  who 
takes  his  hobby  seriously  wel- 
comes the  opportunity  to  obtain 
something-  besides  the  usual  family, 
children,  and  travel  films.  As  soon  as 
story  filming  is  considered  the  ques- 
tion of  make-up  is  brought  to  mind. 

The  average  moviemaker's  knowl- 
edge of  make-up  usually  has  been  ob- 
tained from  pictures  and  articles  in 
motion  picture  magazines,  and  he  has 
the  idea  that  make-up  is  a  tedious, 
greasy  and  unpleasant  affair. 

While  this  may  be  true  of  the  pro- 
fessional movies  the  amateur  need  not 
go  to  such  pains  in  this  regard,  since 
his  films  will  not  be  subject  to  the 
enormous  magnification  in  screening 
that  is  necessary  in  the  theater. 

In  taking  up  the  question  of  make- 
up just  a  word  will  be  sufficient  with 
regard  to  "straight"  make-up.  A 
person  with  normal  skin  need  only  to 
apply  cold  cream  to  the  entire  face, 
rub  off  the  surplus  with  a  soft  cloth 
and  dust  over  the  cream  with  a  light 
(not  white)  or  brunette  flesh  powder 
to  eliminate  the  shine. 

This  will  prove  satisfactory  in  al- 
most every  case.  Never  use  rouge,  as 
it  photographs  black.  If  it  be  desired 
to  accent  the  lips  or  eyebrows  out- 
line them  very  lightly  with  a  brown 
dermatograph  pencil.  Do  not  forget 
to  make  up  all  exposed  skin  such  as 
neck,  arms  and  hands,  which  may  ap- 
pear, in  the  same  manner  as  the  face. 

If  the  amateur  wishes  to  go  into 
straight  make-up  more  deeply  a  small 
booklet  on  the  subject  is  obtainable. 
It  is  titled  "How  to  Make-up"  and  was 
written  by  Alice  Fleming.  A  copy 
may  be  obtained  for  a  nominal  sum  at 
Willoughby's,  New  York  City. 
Simplifying   For  Amateurs 

However,  sooner  or  later  the  ama- 
teur will  desired  to  have  some  friend 
portray  an  unusual  or  "character" 
part  and  here  is  the  point  where  diffi- 
culty begins.  To  make  up  for  a  char- 
acter part  on  the  professional  screen 
oftentimes  requires  as  long  as  two 
hours.  This  would  naturally  be  ob- 
jectionable to  the  amateur  and  he 
therefore  avoids  such  parts.  It  is 
possible,  however,  to  cut  this  time  to 
a  minimum  and  to  assist  in  this  sim- 


plification is  the  purpose  of  this  ar- 
ticle. 

First,  the  clothes:  Few  people  real- 
ize how  changed  a  person's  appear- 
ance may  become  by  the  proper  selec- 
tion of  clothing.  Be  sure  that  your 
character  is  provided  with  all  of  the 
accessories  to  fit  his  characterization. 
Next,  be  sure  that  the  person  taking 
the  character  part  puts  himself  com- 
pletely in  the  character's  place  that 
he  is  seeking  to  portray.  The  most 
complicated  make-up  will  not  ring 
true  unless  this  inward  feeling  is  ob- 
tained. 

Now  for  the  facial  make-up.  In 
portraying  an  unusual  character  it  is 
usually  best  not  to  apply  the  powder 
as  in  the  straight  make-up,  since 
wrinkles  or  skin  blemishes  quite  often 
improve  the  characterization,  a  tramp 
for  example. 

The  only  material  used  in  the  make- 
ups illustrated  herewith  were  a  black 
and  a  brown  dermatograph  pencil,  a 
fifteen-cent  braid  of  gray  crepe  hair, 
a  few  wads  of  cotton  and  a  small 
bottle  of  spirit  gum  obtainable  at  al- 
most any  drug  store. 

The  illustrated  make-ups  were  ap- 
plied in  less  than  five  minutes  time  in- 
volved in  each  case.  Perhaps  the 
simplest  method  of  explanation  would 
be  to  consider  each  make-up  indi- 
vidually. 

For  Barker  Type 

Illustration  No.  1 — Sport  or  carni- 
val barker  type.  This  is  almost  a 
straight  make-up,  the  effect  being- 
gained  mostly  through  expression  and 
accessories  such  as  turned-down  col- 
lar, flashy  stickpin,  large  finger  ring 
and  cane.  Eyebrows  and  mustache 
are  accented  with  black  pencil. 

No.  2 — English  or  cynic  type.  Here 
the  expression  and  the  addition  of  a 
monocle  made  from  one  half  of  an  old 
pair  of  horn-rimmed  glasses  carry 
out  our  ideas.  Eyebrows  and  mus- 
tache  accented;    no   other  make-up. 

No.  3 — Hero  type.  Here  again  just 
accent  eyebrows  nad  mustache. 

No.  4 — Soldier  type.  In  this  case 
a  few  smudges  of  the  dermatograph 
pencil,  an  old  trench  helmet,  trench 
coat  and  a  water  pistol  complete  our 
array. 


No.  5 — Spanish  type.  In  this  case 
after  the  eyebrows  and  mustache  had 
been  darkened,  sideburns  were  drawn 
with  the  brown  dermatograph  pencil 
and  the  upper  eye  lids  were  shaded 
with  the  same  pencil,  the  shading  be- 
ing applied  by  drawing  fine  lines  on 
the  upper  lid  and  blending  them  into 
a  solid  color  with  the  finger  tip. 

No.  6 — Sissy  or  comedy  type.  Here 
the  hair  is  parted  in  the  middle,  the 
eyebrows  accented  and  the  mustache 
accented  only  in  the  middle.  Heavy 
horn-rimmed  glasses  complete  this  en- 
semble. 

No.  7 — Hebrew  comedy  type.  After 
accenting  the  eyebrows,  an  unshaven 
appearance  was  obtained  by  the  ap- 
plication of  the  black  pencil  lightly 
where  the  hair  would  normally  grow. 
This  was  then  softened  by  blending 
with  the  fingertips  into  the  smooth 
part  of  the  face. 

For   the   Mug    Type 

No.  8 — Prizefighter  type.  After 
adding  the  "mouse"  or  discoloration 
under  the  eye  with  the  brown  pencil 
the  problem  of  obtaining  the  conven- 
tional broken  or  flattened  nose  was 
solved  by  stuffing  the  nostrils  with 
cotton.  Small  wads  of  cotton  also 
were  placed  inside  the  mouth,  between 
the  teeth  and  lips,  to  give  a  puffy  ap- 
pearance, and  a  small  dab  of  the 
black  pencil  on  the  lower  lip  com- 
pleted the  battered  appearance. 

No.  9 — Elderly  type.  This  is  quite 
often  the  most  difficult  part  to  por- 
tray. In  making  up  for  this  part  the 
brown  pencil  is  applied  around  the 
eyes  and  on  the  cheeks  just  below  the 
cheek  bones  to  give  a  hollow  or  sunken 
appearance.  Then  the  two  natural 
wrinkles  about  the  mouth  were  ac- 
cented. Then  crepe  hair  was  applied 
to  the  eyebrows  and  to  form  the  mus- 
tache and  beard.  In  applying  the 
crepe  hair  unravel  about  six  inches 
and  comb  it,  fluffing  it  out  until  quite 
a  large  "bunch"  is  obtained,  then  ap- 
ply spirit  gum  to  the  portion  of  the 
face  to  be  covered  by  the  hair.  As 
soon  as  the  spirit  gum  is  applied  take 
a  large  wad  of  the  hair  and  press  it 
tightly  upon  the  spirit  gum.  After 
the  gum  has  hardened  sufficiently  the 
beard  and  eyebrows  may  be  lightly 
combed  and  then  trimmed  to  the  de- 
sired   shape    with    scissors. 

Note — This  characterization  also 
illustrated  the  point  brought  out 
earlier,  that  of  making  up  the  hands 
as  well  as  the  face.  The  hands  in  this 
case  should  have  been  lined  softly 
with  the  brown  pencil  to  give  a 
wrinkled  appearance  in  keeping  with 
the  portrayal. 

No.  10 — Normal.  Ready  to  apply 
the    make-up,    showing    the    dermato- 


Twenty-six 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


graph  pencil  in  the  hand  as  compared 
to  the  make-up  box  usually  thought 
necessary  for  this  type  of  work. 

No.  11 — Elderly  type.  In  this  make- 
up the  natural  wrinkles  in  the  fore- 
head were  accented  lightly  and  crepe 
hair  was  added  to  the  sideburns  in 
addition  to  the  eyebrows,  mustache 
and  beard.  By  adding  a  pair  of  black 
glasses  to  this  characterization  we 
have  a  good  blind  man  type. 

No.  12 — Poisoner  or  maniac  type. 
Here  we  attempt  to  portray  a  fiendish 
type.  All  wrinkles  are  accented,  the 
hair  is  tousled,  and  the  crepe  hair, 
eyebrows,  mustache  and  beard  are  ap- 
plied as  before  but  are  left  ragged  in- 
stead of  being  trimmed  with  the 
scissors. 

When  Doing  a  Du  Maurier 

No.  13 — Hypnotist  type.  Our  ob- 
ject here  is  to  accent  the  eyes.  We 
do  this  by  accenting  the  eyebrows  and 
then   darkening  the  entire   upper   lid 


with  the  brown  pencil  and  then  draw- 
ing a  dark  line  all  the  way  across  the 
upper  edge  of  the  lower  lids  with  the 
black  pencil.  The  mustache  and  beard 
in  this  case  were  simply  drawn  with 
the  brown  dermatograph  pencil  and 
then  blended  slightly  so  as  not  to 
make  the  edges  too  abrupt.  The  tur- 
ban was  formed  by  wrapping  a  turk- 
ish  towel  around  the  head,  the  towel 
being-  covered  by  a  scarf. 

Nos.  14  and  15 — Hunchback  or  im- 
becile. In  this  portrayal  the  eyes  and 
cheeks  were  heavily  lined  with  the 
black  pencil.  Wrinkles  were  accented, 
hair,  eyebrows  and  beard  were  formed 
of  crepe  hair  but  were  left  ragged. 
The  hunchback  effect  was  obtained  by 
stuffing  a  small  pillow  underneath  the 
coat  and  over  one  of  the  shoulders. 
Another  purpose  of  these  two  illustra- 
tions is  to  show  that  no  matter  how 
repulsive  the  make-up  may  seek  to 
portray  the  character  the  effect  will 


be  lost  if  the  expression  is  not  in  keep- 
ing with  the  make-up. 

No.  16 — Pirate  type.  The  eyebrows, 
upper  lids  and  mustache  were  dark- 
ened and  the  beard  applied  with  the 
black  pencil.  A  scarf  for  the  head, 
large  earrings  and  the  "family  carv- 
ing knife"  complete  this  make-up.  The 
tattoos  were  drawn  with  the  black 
pencil. 

No.  17 — Satan.  This  make-up  is 
oftentimes  used  to  represent  Tempta- 
tion or  Evil,  even  though  we  seldom 
would  produce  a  picture  starring  the 
gentleman  in  question.  The  eyebrows 
were  darkened,  arched  and  extended 
beyond  their  normal  limits.  The  mus- 
tache was  darkened  and  curved,  and 
the  beard  applied  with  the  black  pen- 
cil. An  artificial  hair  line  was  also 
drawn  coming  down  to  a  peak  in  the 
forehead  and  the  space  between  this 
line  and  the  normal  hair  was  filled  in 
and  blended  with  the  black  pencil. 

No.  18 — Tough  or  tramp  type.  The 
eyelids  and  cheeks  were  darkened 
slightly  and  the  beard  and  face  gen- 
erally were  smudged  with  the  brown 
pencil  to  give  an  unkept  and  dirty 
appearance. 

No.  19 — Chinese  type.  The  cheeks 
were  "hollowed"  slightly  by  the  ap- 
plication of  the  brown  pencil  and  arti- 
ficial slanting  eyebroks  were  drawn 
with  the  black  pencil.  The  black  pen- 
cil was  also  used  to  draw  the  mus- 
tache and  to  draw  an  up-slanting  line 
about  an  inch  in  length  extending 
from  the  outside  corners  of  the  eyes. 
The  nose  was  flattened  slightly  by 
stuffing  it  with  cotton  and  the  mouth 
made  puffy  by  introducing  a  small 
strip  of  cotton  underneath  the  inside 
of  each  lip. 

Using  Nose  Putty 

If  it  be  desired  to  change  the  shape 
of  the  features  to  a  great  extent  nose 
putty  must  be  used.  This  comes  in 
small  sticks  and  when  mouded  in  the 
hands  it  becomes  soft  and  pliable.  It 
is  then  shaped  into  the  desired  form 
and  is  fastened  to  the  nose  or  place 
desired  with  spirit  gum.  In  using 
nose  putty,  however,  it  is  necessary  to 
apply  a  "base"  or  foundation  make- 
up color  to  the  nose  and  face  so  that 
the  addition  will  not  be  noticeable, 
and  since  this  would  bring  us  into  a 
discussion  of  more  complicated  make- 
up we  will  not  g-o  into  it  more  fully. 

A  simple  method  of  making  a  hair 
lip  is  as  follows :  Obtain  a  small  piece 
of  dark  brown  thread  and  knot  one 
end  of  it.  Draw  this  thread  between 
two  of  the  upper  teeth  until  the  knot 
is  held  against  the  back  of  the  teeth. 
Now  by  drawing  the  thread  upward 
with  the  mouth  closed  an  indented  line 
will  be  formed.  Cut  off  this  thread 
about  a  quarter  of  an  inch  above 
where  it  would  enter  one  of  the 
nostrils. 

Now  fray  or  spread  out  the  loose 
end  of  the  thread  as  much  as  possible 
and  moisten  the  lower  part  of  the 
nose  just  inside  the  nostril,  and  draw- 
ing the  thread  tight  press  the  frayed 
end  against  the  spirit  gum  until  it 
adheres. 

Note:  In  using  spirit  gum  be  sure 
to  have  a  small  bottle  of  denatured 
alcohol  at  hand  for  removing  it  when 


May,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-seven 


When  the  Naked  Truth 

Paradoxically  Is   Colored 

Welford    Beaton    in    The    Film    Spectator 

BOB  SHERWOOD,  in  referring 
to  the  fact  that  "Ingagi"  was 
a  fake,  writes:  "I  recognized  my 
old  laundress  among  the  naked 
African  natives."  I  trust  that  Bob 
also  would  have  been  able  to  rec- 
ognize her  if  he  had  seen  her  with 
her  clothes  on. 


On  One  World  Cruise  Every  Fourth 
Passenger  Carried  a  Movie  Camera 


through  with  the  day's  "shooting." 
Moisten  a  small  piece  of  cotton  and 
gently  rub  the  portion  of  the  skin 
covered  by  the  gum.  In  a  few  sec- 
onds the  gum  will  be  dissolved  and 
can  be  rubbed  off  and  the  face  can 
then  be  washed  with  soap  and  water. 

These  illustrations  have  purposely 
been  kept  as  simple  as  possible  and 
the  amateur  is  earnestly  cautioned 
against  too  drastic  an  attempt  to  por- 
tray a  deformed  character.  The  rec- 
ord of  the  late  Lon  Chaney  shows 
clearly  that  for  each  of  these  charac- 
ters he  portrayed  he  spent  many 
hours  of  misery  and  suffered  from  the 
after  effects  to  such  an  extent  that  his 
health  was  permanently  impaired. 
Don't  Take  Risks 

This  writer  had  one  lesson  in  over- 
zeal  recently.  In  reading  an  article 
on  Lon  Chaney  he  was  informed  that 
the  blindness  of  one  eye  that  was  the 
high  spot  in  Lon  Chaney's  make-up 
for  the  picture  "The  Road  to  Man- 
dalay"  was  obtained  by  covering  the 
eye  ball  with  the  membrane  which 
lines  the  inside  of  an  egg  shell. 

The  writer  spent  several  hours  in 
attempting  to  duplicate  this  effect  and 
then  spent  several  days  with  an  ex- 
ceedingly sore  eye  in  consequence.  He 
later  learned  the  effect  had  been  ob- 
tained in  an  entirely  different  manner. 

Due  to  lack  of  space  the  illustra- 
tions only  show  the  head  and 
shoulders,  but  the  entire  costuming 
should  be  in  keeping  with  the  charac- 
ter being  portrayed.  In  all  of  the  il- 
lustrations note  that  the  final  success 
of  each  one  depends  a  great  deal  upon 
the  expression.  This  must  always  be 
kept  in  mind. 

The  art  of  make-up  is  something 
that  takes  years  to  master,  but  with 
these  few  and  simple  suggestions  and 
illustrations  we  believe  the  amateur 
producer  will  be  able  to  give  a  credit- 
able account  of  himself  in  his  first  at- 
tempt at  this  fascinating  pastime. 

For  those  who  wish  to  study  this 
art  more  fully,  A.  B.  Shore,  director 
of  Make-up  for  Max  Factor  and  Com- 
pany informs  me  that  his  company 
supplies  a  small  make-up  box  contain- 
ing the  essentials  for  straight  work 
for  $2  and  a  small  make-up  set  for 
character  work  at  $5.  These  kits  are 
made  up  especially  for  motion  picture 
work. 

Naturally  only  a  limited  number  of 
make-ups  could  be  discussed  in  this 
article,  but  the  writer  would  be  glad 
to  answer  any  questions  concerning 
them. 


«T  T  is  getting  so  nowadays  that 
I  a  tourist  without  a  movie  cam- 
era is  as  old  fashioned  as  a 
home  without  a  radio  or  a  home  with- 
out a  bath.  Any  world  cruise  will 
serve  as  an  example.  Last  year  one 
out  of  every  four  passengers  on  a 
certain  world  cruise  had  a  movie 
camera  of  some  sort." 

The  above  is  the  introductory  para- 
graph of  an  interesting  article  in  the 
April  Golden  Book  magazine  on 
"Making  Movies,  the  Newest  Vogue 
in  Travel." 

In  Burma  even  the  elephants  have 
become  movie  conscious,  and  in  Hol- 
land the  children  have  a  regular  tariff 
worked  out  for  posing  for  pictures, 
according  to  A.  K.  Dawson,  the  au- 
thor of  the  article. 

"The  man  with  the  camera  gets 
more  out  of  his  trip  than  his  fellow 
travelers  who  are  not  so  fortunate," 
says  Mr.  Dawson.  "The  camera  is  an 
open  sesame  or  an  international  intro- 
duction. It  encourages  one  to  wander 
off  the  main  track  into  strange  by- 
ways, up  those  little  side  streets 
where  pictures  may  lurk  just  around 
the  corner. 

"I  recall  the  day  that  I  wandered 
all  over  the  palace  of  a  South  Amer- 
ican president,  starting  in  by  photo- 
graphing a  uniformed  messenger  boy 
outside  the  main  door  and  ending  up 
by  photographing  the  president  him- 
self in  his  office. 


"In  Latin  America  the  man  with 
a  camera  has  a  particular  advantage. 
The  ordinary  traveler  will  see  one,  or 
at  most  two,  soldiers  on  duty  at  the 
entrance  of  the  palace,  but  for  the 
moving  picture  camera  the  officer  in 
charge  will  always  turn  out  and  line 
up  the  entire  guard." 

In  the  March  Cunarder  magazine, 
John  K.  Skinner,  a  Chicago  educator, 
tells  of  the  adventures  of  himself  and 
wife  in  making  movies  in  Europe  last 
summer. 

With  regard  to  showing  the  pic- 
tures, he  states  that  every  time  they 
are  projected  "we  relive  the  experi- 
ences of  our  summer  in  Europe,  and 
many  are  the  places  remembered  that 
would  have  been  forgotten  in  their 
strange  and  foreign  beauty  had  we 
not  had  the  pictures  to  recall  them. 
At  the  time  of  purchasing  our  Filmo 
movie  outfit  a  year  ago,  the  question 
as  to  whether  we  could  afford  the 
price  loomed  large,  but  now  we  very 
much  doubt  if  we  can  afford  to  travel 
without  a  'movie'  camera." 

The  March  Nomad  magazine  car- 
ries a  picture  of  Nelson  Rockefeller, 
grandson  of  John  D.,  using  his  Filmo 
at  Bangkok,  and  three  other  pictures 
showing  10  mm.  cameras  "doing  their 
stuff"  in  Hawaii  and  the  West  Indies. 

It  is  noted  that  many  magazines  of 
general  circulation  are  according  sub- 
stantial recognition  to  amateur  pic- 
tures. 


Shooting  amateur  motion  pictures  on  the  Mauretania.  Courtesy  Bell  and  Howell 


Twenty-eight 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


Henry  Prautsch  Jr.  Designs  Emblem 


HENRY  PRAUTSCH,  Jr.,  popu- 
lar member  of  Local  659,  has 
just  completed  a  unique  auto- 
mobile radiator  ornament  in  the  form 
of  an  illuminated  emblem  of  the  Inter- 
national   Photographers. 

The  lamphouse  and  supporting 
clamps  are  made  of  bronze,  shaped 
and  fitted  on  miller  and  lathe.  In 
front  of  this  lamphouse  is  a  convex, 
chromium  plated  brass  plate  through 
which  Prautsch  has  cut  by  hand  the 
entire  lettering  and  I.A.T.S.E.  insig- 
nia of  the  cameramen.     The   cut-out 


letters  are  backed  by  a  special  blue 
fabric  which  when  lit  from  within 
throws  the  lettering  in  blue  upon  the 
white  chromium  face  of  the  emblem, 
thus  presenting  the  official  colors  of 
the  I.A.T.S.E. 

Henry  has  spent  his  leisure  time 
every  evening  for  the  past  several 
weeks  in  the  construction  of  this 
clever  ornament.  It  is  without  doubt 
unequaled  among  the  many  I.  A. 
emblems  so  far  displayed  by  camera- 


Focusing  Alignment  Gauge  Devised 

for  Photographers  and  Scientists 


ADVANCED  amateur  cinematog- 
raphers  and  scientific  research 
workers,  including  surgeons  and 
doctors,  who  require  precision  results 
in  their  close-up  motion  picture  work, 
will   be  particularly  interested   in   the 


Focusing  alignment  gauge  set  to  place 

Filmo  70-D  Camera  viewfinder  exactly 

where    lens   will    be   when   picture   is 

taken 


focusing  alignment  gauge,  just  an- 
nounced by  Bell  &  Howell  as  an  ac- 
cessory for  any  Filmo  70  or  70-DA 
camera,   especially   for   the   latter. 

Every  Filmo  owner  interested  in 
titlemaking  will  welcome  the  added 
possibility  for  obtaining  professional 
results  which  are  provided  by  the  new 
unit,  which  is  an  adaptation  of  a 
similar  Bell  &  Howell  device  used 
with  the  professional  cameras  and  is 
only  six  inches  long  by  three  wide. 

On  the  Filmo  70-DA,  with  which 
the  new  accessory  will  be  found  most 
useful,  the  spyglass  viewfinder  is  set 
to  one  side  of  the  photographic  aper- 
ture. While  the  finder  has  been  placed 
as  close  as  possible  to  the  aperture, 
still  there  is  enough  offset  to  hinder 
accurate  framing  in  extremely  critical 
close-up  work. 

On  the  other  side  of  the  70-DA  tur- 
ret head  is  a  critical  focuser  which 
permits  of  hypercritical  focusing  on 
an  area  in  the  exact  center  of  the 
total  picture  area.  The  focusing  posi- 
tion is  necessarily  even  farther  re- 
moved from  the  lens  photographing 
position  than  is  the  viewfinder. 

The  focusing  alignment  gauge 
takes  care  of  the  offset  in  each  in- 
stance. It  attaches  to  a  standard 
thread  small  camera  tripod  by  means 
of  the  regular  screw.  The  Filmo 
70-DA  camera  then  attaches  to  the 
gauge's     sliding    block    by    a    thumb 


Showing  (in  circle)  the  focusing  align- 
ment gauge 

screw.  The  block  on  which  the  camera 
is  mounted  slides  on  a  precisely 
machined  tool  steel  track  resembling 
a  lathe  bed.  Three  accurately  placed 
holes  in  the  bed  cause  automatic  lock- 
ing in  viewfinding,  focusing  and  photo- 
graphing positions.  Thus  the  view- 
finder,  and  later  the  critical  focuser 
may  be  centered  and  used  exactly 
where  the  lens  will  be  when  the  pic- 
ture is  taken.  One  can  therefore 
readily  imagine  the  boon  this  will  be 
to  the  title  maker  and  to  the  man 
who  does  much  close-up  work. 


Goerz  Issues   Booklet   on 

Its  Panoramic  Cine-Panor 

THE  announcements  on  the  pano- 
ramic Cine-Panor  lens  which 
have  appeared  so  far  in  Ameri- 
can photographic  publications  only 
nevertheless  have  created  a  world- 
wide interest  in  this  achievement  of 
American  optical  science  and  indus- 
try. 

This  entirely  novel  lens  system  for 
the  production  of  wide-screen  motion 
pictures  with  standard  16mm  ama- 
teur equipment  is  the  invention  of 
Dr.  Sidney  Newcomer,  an  American 
physicist  and  mathematician  of  New 
York  City. 

The  manufacturer,  the  C.  P.  Goerz 
American  Optical  Company,  has  re- 
ceived numerous  inquiries  about  the 
Cine-Panor  from  practically  every 
country  in  the  world,  and  the  lens  has 
been  described  in  American,  French 
and  German  periodicals  catering  to 
the  professional  as  well  as  the  ama- 
teur motion  picture  makers. 

A  new  booklet,  interestingly  writ- 
ten and  fully  illustrated,  giving  full 
information  about  the  Goerz  Cine- 
Panor,  has  been  just  issued  by  the 
C.  P.  Goerz  American  Optical  Com- 
pany, of  317  East  Thirty-fourth 
Street,  New  York.  Readers  who  have 
not  yet  received  a  copy  may  have 
one  free  on  request. 

Demonstrations  of  the  novel  screen 
effects  obtainable  with  the  Cine-Panor 
can  now  be  arranged  by  the  dealers 
and  Cinema  Clubs  by  addressing  the 
manufacturer. 


May,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Twenty-nine 


New  Negative  to  Improve  Quality 


Technicians   Agree   Same  Number  of   Lighting- 
Units  Will  Be  Needed  Even  if  There  Be 
Less  Current  Employed 

BY  FRED  WESTERBERG 


IN  an  endeavor  to  find  out  with 
some  degree  of  accuracy  what  re- 
sults are  being  obtained  with  the 
supersensitive  motion  picture  film  re- 
cently brought  out  by  both  the  East- 
man and  DuPont  companies,  a  meet- 
ing was  held  by  the  Technicians 
Branch  of  the  Academy  of  Motion 
Picture  Arts  and  Sciences  at  the 
R.  K.  O.  studio  on  the  evening  of 
March  31  at  which  several  reports 
were  read,  quite  a  few  test  reels  from 
various  studios  shown  and  a  good 
deal  of  discussion  took  place. 

Ted  Reed  introduced  the  chairman 
of  the  evening,  H.  Keith  Weeks,  man- 
ager of  the  Fox  Movietone  studio  at 
Fox  Hills.  Weeks  struck  the  key- 
note by  saying  that  accurate  informa- 
tion on  what  the  new  film  will  or  will 
not  accomplish  is  needed,  and  he 
stressed  the  advantages  to  be  gained 
by  pooling  the  experiences  of  the  in- 
dustry and  conducting  an  open  forum 
on  the  subject. 

Claims  Not  Dissimilar 

Representatives  of  two  film  manu- 
facturers were  first  called  upon  to 
describe  their  product.  Wesley  Smith 
spoke  for  the  DuPont  company  and 
Emory  Huse  for  Eastman.  Without 
going  into  technical  detail  both  de- 
scribed what  they  believed  had  been 
accomplished  in  the  new  film.  This 
was  practically  the  same  in  both 
cases : 

(1)  An  overall  increase  in 
sensitiveness  of  over  100  per 
cent. 

(2)  No  increase  in  grain 
size. 

(3)  Increased  color  sen- 
sitiveness over  the  whole 
spectrum. 

Both  were  of  the  opinion  photo- 
graphic quality  would  be  improved 
'  and  the  cost  of  lighting  reduced  by 
the  use  of  superspeed  film. 

Speaking  in  behalf  of  the  actors 
the  chairman  said  they  were  very 
happy  because  of  the  reduced  illumi- 
nation on  the  set  which  made  for 
greater  bodily  comfort,  relieved  eye 
strain  and  made  it  possible  to  keep 
the  make-up  in  better  condition. 

John  M.  Nickolaus,  in  charge  of  the 
laboratory  at  M.  G.  M.,  was  outspoken 
in  his  contention  that  the  new  film 
offered  no  new  laboratory  problems. 
',  He  found  that  it  was  not  necessary 
to  work  in  absolute  darkness  and  that 
increased  latitude  of  the  film  if  any- 
thing made  the  work  easier. 

Amperage  Values 

L.  E.  Clarke  of  RKO  read  a  report 
on  "The  Effects  on  Lighting  Equip- 
ment and  Practices."  This  report 
was  based   on   a  questionnaire  to   the 


electrical   departments  of  ten  leading 
studios. 

It  was  found  that  six  out  of  the 
ten  studios  were  using  the  film  on 
production.  Four  of  these  six  stu- 
dios found  they  were  using  just  as 
much  amperage  on  the  set  as  before. 
One  studio  showed  a  reduction  of  30 
per  cent  and  another  of  60  per  cent. 

It  was  found  the  number  of  lamp 
units  on  the  set  was  not  being  de- 
creased, but  in  some  cases  the  amper- 
age of  the  lamps  was  being  reduced. 
In  some  cases  the  light  was  being  cut 
down  by  diffusers  in  which  event  the 
amperage  would  not  be  reduced. 
Gaudio  Starts  Something 

Mr.  Clarke  suggested  that  no  def- 
inite conclusions  could  be  arrived  at 
until  more  water  had  passed  under 
the  bridge. 

One  of  the  executives  in  comment- 
ing on  Mr.  Clarke's  report  said  the 
failure  to  reduce  amperage  was  in 
many  cases  due  to  the  fact  that  the 
studios  had  not  as  yet  bought  the 
smaller  globes  requiring  less  amper- 
age. 

Tony  Gaudio  at  this  point  in  his  in- 
imitable manner  stressed  the  neces- 
sity of  retaining  the  present  quota  of 
lamps  and  even  increasing  the  size  of 
some  of  the  lamps  in  order  to  obtain 
the  benefit  of  the  larger  reflectors. 
He  objected  to  the  producer  assuming 
he  could  curtail  his  lamp  equipment 
because  of  the  new  superspeed  film. 

The  chairman  answered  in  behalf 
of  the  producer.  He  said  the  pro- 
ducer does  not  as  yet  know  what  to 
expect  from  superspeed  film  and  that 
until  the  cameraman  demonstrated 
that  economy  was  possible  the  pro- 
ducer should  not  attempt  to  curtail 
the   lighting  equipment. 

"That's  all  right,"  responded  Tony, 
"but  he  is  already  doing  it  to  me." 

The  demonstration  reels  consisted 
of  some  tests  from  United  Artists 
shot  by  Ray  June  and  Gregg  Toland, 
some  split  screen  and  other  tests  from 
Paramount  made  by  Virgil  Miller, 
Vic  Milner  and  Karl  Struss,  some 
tests  of  Broadway  at  night  by  John 
Arnold,  and  some  scenes  from  the 
Carlsbad  Caves  by  Elmer  Dyer. 

It  is  the  intention  of  the  Academy 
to  hold  one  or  two  more  meetings  on 
the  same  subject  in  the  near  future, 
when  more  complete  data  will  be 
available. 


present  conditions  will  permit.  He 
added  that  for  years  the  aim  of  the 
manufacturers  had  been  to  speed  up 
emulsion.  With  the  new-comer  there 
are  going  to  be  slight  changes  in  the 
handling  of  the  film,  which  had  been 
provided  among  other  things  as  a 
medium  by  which  to  improve  photo- 
graphic quality. 

"It  should  be  the  aim  of  a  new 
emulsion  to  cost  less,"  the  speaker 
continued,  "and  experience  is  proving 
that  this  does  cost  less  because  of  the 
decreased  cost  of  lighting  which  can 
be  used  with  it.  Also  you  are  getting 
no  more  but  probably  less  grain  with 
the  new  film.  One  of  the  noticeable 
factors  in  the  tests  now  being  con- 
ducted is  its  demonstration  that  the 
make-up  on  the  lips  is  too  heavy." 

Joe  Rucker  of  Local  659  was  intro- 
duced to  the  gathering  as  one  of  the 
two  men  who  went  down  to  the  bot- 
tom of  the  world  to  photograph  the 
Byrd  expedition.  The  cameraman 
remarked  if  the  new  film  had  been 
available  on  that  journey  much  grief 
would   have   been   spared. 

John  M.  Nickolaus,  head  of  the  lab- 
oratory at  M.  G.  M.,  said  the  new 
film  had  presented  no  problem  to  the 
laboratory  so  far  as  he  was  able  to 
observe. 

Get  Same  Results 

"The  same  experience  apparently 
goes  with  others,"  he  added.  "It  is 
fast,  requires  less  light  in  the  dark- 
room, and  so  far  as  concerns  work- 
ing in  darkness  in  handling  I  have 
had  no  occasion  to  do  that.  We  find 
we  use  the  same  light,  handle  the 
stock  the  same  way,  and  get  the  same 
results.  I  believe  eventually  it  may 
prove  to  be  easier  to  handle  and  not 
harder. 

"There  has  been  a  lot  of  talk  that 
the  supersensitive  requires  a  different 
treatment,  but  I  have  found  nothing 
like  that.  I  have  found  no  laboratory 
man  who  has  noted  any  difference.  I 
have  found  no  cameraman  who  has 
had  any  difficulty.  It  is  my  belief 
with  the  new  film  the  cameraman 
will  reach  his  aims  with  less  effort. 
It  is  no  bother  from  the  laboratory 
side.  So  far  as  the  light  is  concerned 
most  laboratories  always  work  with  a 
very  faint  light  anyway." 

Lyman  Broening  asked  as  to  when 
it  was  intended  to  demonstrate  with 
color  charts,  saying  that  up  to  the 
present  time  attention  had  been  cen- 
tred on  the  make-up  side. 

Tony  Gaudio,  in  answering,  said 
from  his  experience  in  the  few  weeks 
he  had  been  working  with  the  new 
stock  he  had  not  found  any  variation 
in  change  of  color  that  would  be  no- 
ticeable when  a  picture  was  joined  to- 
gether— inside  and  outside. 


By   Another   Observer 

1~^HE   first  technical   speaker  was 
Emory    Huse    of    the    Eastman 
company,   who   said   that   in   the 
supersensitive     film    manufacturers 
have    reached    their    goal    so    far    as 


Of  Course 

Len  Powers — Why  do  Scotchmen 
prefer  blonds? 

Len  Smith — I  suppose  it  is  because 
of  the  light  overhead. 


Thirty 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


Looking  In  on  Just  a  Fezv  Nezv  Ones 


(Continued  from  Page  22) 


the  rescuing  automobiles  headed  on 
the  ground  by  a  big  tank  and  in  the 
air  heralded  by  a  helicopter;  the  as- 
sault on  the  castle,  the  battle  and  the 
following  destruction. 

The  flash  we  get  of  the  torture 
chamber  and  the  multiple  gallows  is  a 
sufficient  reminder  of  the  good  old 
days  as  they  were  lived  a  thousand  or 
more  years  ago. 

The  picture  was  directed  by  David 
Butler  from  an  adaptation  by  William 
Conselman. 


o 


\  1 1 


DIRIGIBLE 

Joe  Walker,  Cameraman 

WHAT  Hollywood  and  the  motion 
picture  industry  jointly  or  sep- 
•ately  have  done  to  Uncle  Sam's 
sailormen  when  portraying  them  on 
the  screen  has  been  the  cause  of  much 
grief  and  profanity  on  the  part  of 
navy  officers— and 
often  with  abun- 
dant reason.  It  is 
likely  Hollywood 
and  the  m.  p.  i. 
now  have  done 
something  that 
will  help  to  re- 
store cordiality 
of  feelings — or  at 
least  that  Colum- 
bia has  so  done. 
For  surely  it 
would  seem  "Dir- 
igible" will  be 
satisfying   to   the  Joe  Walker 

navy.  In  the  first  place  the  story  was 
written  by  a  navy  man,  one  who  sees 
through  the  eyes  not  of  a  civilian 
whose  alleged  knowledge  of  navy 
traditions  is  gained  from  the  false 
teachings  of  his  fellow  screen  writers 
but  rather  as  one  who  has  lived  for 
years  with  the  men  whose  lives  and 
traditions  he  is  aiming  to  portray. 

Commander  Frank  Wilbur  Wead 
has  told  a  human  story  of  bravery 
and  love,  but  more  than  that  a  story 
of  honor  and  self-sacrifice,  and  inci- 
dentally one  showing  naval  officers  as 
regular  fellows — as  they  pretty  gen- 
erally must  be  to  continue  year  in 
and  year  out  to  be  naval  officers. 

There  is  so  much  in  the  picture  to 
talk  about  that  adequately  to  describe 
it  would  require  the  space  of  a  book. 
As  an  example  one  of  the  first  cracks 
out  of  the  box  is  the  loop  of  an  air- 
plane around  the  Los  Angeles  diri- 
gible. Any  one  under  the  delusion 
that  screen  thrills  long  since  were 
exhausted  should  take  a  look  at  this 
one. 

Then  again  there  is  the  crack-up  of 
the  dirigible,  reminiscent  of  the  dis- 
aster that  befell  one  of  the  British 
aircraft  not  so  long  ago. 

There  must  be  many  who  will  main- 
tain that  where  there  is  present  a 
knowledge  that  trick  work  is  being 
resorted  to  there  can  be  no  room  for 
illusion.  If  they  will  see  "Dirigible" 
they  will  probably  change  their  minds. 

Without  minimizing  the  work  of 
Frank    Capra,    the    director,    and    his 


staff  the  production  is  an  outstanding 
testimonial  to  the  craftsmanship  of 
the  cameramen.  Program  credit  is 
given  to  these  photographers  as  aids 
of  Joe  Walker:  Andre  Barlatier,  Rube 
Boyce,  Victor  Sherick,  Frank  Zucker, 
Charles  Levine,  George  Meehan  and 
Al  Wetzel,  with  Elmer  Dyer  on  the 
air   work. 

To  Jo  Swerling  goes  the  credit  for 
adaptation  and  dialogue  and  to 
Dorothy  E.  Howell  for  the  continuity. 
The   result  was   a   corking   good   job. 

The  major  part  of  the  interpreta- 
tion falls  to  four  persons — Jack  Holt, 
Ralph  Graves,  Fay  Wray  and  Hobart 
Bosworth. 

It  is  trite  to  say  a  man  has  done 
nothing  finer,  but  the  risk  will  be 
taken  here  in  the  instance  of  both 
Holt  and  Graves.  The  former  has 
the  part  of  the  lighter  than  air  par- 
tisan, while  the  other  is  strong  for 
the  plane. 

The  first  is  characterized  as  a 
steadygoing  navy  man  who  weighs 
his  chances  and  taken  them,  while  his 
friend  reverses  the  order  of  proce- 
dure. They  are  great  friends,  a  re- 
lation protected  by  the  first  even 
though  he  is  in  love  with  the  wife  of 
the  second.  It  is  this  phase  of  the 
story  which  lifts  the  picture  out  of 
and  above  the  altitude  it  attains  as  a 
striking  spectacle  into  that  of  a  really 
dramatic  story,  a  spectacular  love 
story  if  you  will.  In  this  Fay  Wray 
does  her  share. 

This  writer  knows  no  better  way  of 
summing  up  "Dirigible"  than  by 
quoting  John  Hill,  who  from  his  desk 
a  half  a  dozen  feet  away  suggested 
it  was  a  motion  picture  and  of  the 
navy  without  display  of  shooting 
irons,  a  cast  without  a  villain,  a 
comedian  or  a  vamp;  without  a  resort 
to  booze,  cusswords,  ribaldry  or  per- 
sonal combat;  without  undue  sex  ao- 
peal  or  any  of  the  surefire  bunk  of  the 
old  order;  and  that  love,  honor,  de- 
cency, sportsmanship  and  unselfish 
devotion  to  duty  are  stressed  with- 
out preachment. 

And  that's  from  a  man  who  came 
to  Hollywood  before  the  pictures  did. 


KIKI 

Karl  Struss,  Cameraman 

TO  approach  a  review  of  "Kiki" 
with  Mary  Pickford  in  the  role 
of  the  nutty  French  girl  is  not 
a  simple  task  for  one  who  has  fol- 
lowed the  player  through  all  of  her 
pictures  in  the  first  decade  of  her 
screen  work  and  in  some  of  those  of 
the  second.  If  behind  her  appearance 
in  this  most  difficult  role  it  had  been 
the  intention  of  Miss  Pickford  to  am- 
putate and  dismember  such  Tradition 
as  had  been  created  in  twenty  years 
it  must  be  admitted  she  certainly  has 
succeeded. 

The  most  difficult  phase  here  in 
wooing  the  illusion  which  is  the  neces- 
sary prerequisite  to  enjoyment  of 
drama  is  overcoming  consciousness  of 
the  identity  of  Kiki,  the  pursuing  feel- 


ing that  seemingly  will  not  down  that 
here  is  the  one  we  have  known  as 
America's  fair-haired  girl  or  some- 
thing like  that  who  is  pulling  down 
around  her  ears  the  structure  she  has 
so  carefully  builded  all  these  years; 
that  she  is  serving  notice  on  those 
who  may  be  interested  that  by  this 
token  of  "Kiki"  the  past  is  dead,  like 
Marley  deader  than  a  doornail;  that 
the  new  Pickford  will  be  utterly  and 
entirely  unlike  the  one  we  knew  in 
the  pre-war  and  practically  all  of  the 
post-war  period. 

To  those  not  thus  pre-handicapped 
"Kiki"  should  be  an  enjoyable  picture. 
One  wide  and  amiable  female  found  a 
sequence  so  much  to  her  liking  that 
not  only  did  she  stage  an  excellent 
demonstration  of  near  hysteria  but 
she  carried  along  some  of  her  neigh- 
bors and  left  them  in  a  condition  bor- 
dering on  collapse.  Even  the  show- 
man's mildewed  if  expressive  "belly 
laugh"  seemed  pale  and  anaemic  at 
times. 

Reginald  Denny  headed  the  support- 
ing cast,  which  included  also  Joseph 
Cawthorne  and  Margaret  Livingston. 

Sam  Taylor  adapted  and  directed 
this  Belasco  play  from  the  French  of 
Andre  Picard. 


SKIPPY 

Karl  Struss,  Cameraman 

PRODUCTION  of  a  story  of  chil- 
dren is  approached  by  Paramount 
in  no  spirit  of  indifference,  as  is 
attested  by  a  survey  of  the  staff  as- 
sembled    to     prepare     and     produce 
"Skippy."     The   tale  was  written  by 
Sam    Mintz   from 
the      newspaper 
serial      strip      of 
Percy    Crosby. 
The    screen    play 
was    done    by 
Joseph    L.     Man- 
kiewicz  and  Nor- 
man    M  c  L  e  o  d. 
Then  to  make  cer- 
tain no  opportun- 
ity should  be  over- 
looked  Don    Mar- 
quis was  called  in 
to      write      addi- 
tional      dialogue.  Karl  Struss 
The  finished  result  has  the  earmarks 
of  quite  a  bit  of  the  Marquis  stuff. 

"Skippy"  is  a  good  picture,  not 
alone  one  of  marked  interest  to  the 
youngsters.  There  are  several  mo- 
ments when  adults  of  any  age  are 
going  to  squirm  uncomfortably  as 
through  the  high-powered  glass  of 
childhood  they  see  the  magnified  trag- 
edy that  follows  the  official  shooting 
by  the  dog  catcher  of  Sooky's  mongrel. 

The  young  hero  of  the  picture  of 
course  is  Skippy  as  played  by  Jackie 
Cooper,  and  certainly  he  plays  his 
part.     It  is  a  finished  performance. 

What  will  stand  out  above  other 
factors,  however,  in  the  view  of  the 
average  picturegoer  will  be  the  first 
screen  appearance  and  also  in  dia- 
logue of  Robert  Coogan,  the  five-year- 
old  brother  of  the  child  who  was  made 
famous  by  Charles  Chaplin  in  "The 
Kid."  The  new-comer  does  remark- 
ably well,  especially  in  view  of  the  un- 


May,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty -one 


usually  long  speeches  assigned  to  him 
- — and  which  he  puts  over  with  the 
air  of  one  not  unacquainted  with  his 
screen. 

When  an  infant  is  given  for  utter- 
ance such  phrases  as  "sociological 
juxtaposition"  not  so  much  allowance 
is  being  made  for  childhood.  It  may 
be  worthwhile  remarking  in  passing 
that  the  struggles  of  Sooky  and 
Skippy  with  the  tongue-twisting  com- 
bination contributed  to  the  comedy. 

Mitzi  Green  and  Jackie  Searl  were 
the  other  principals  among  the  chil- 
'dren. 

For  the  seniors  Willard  Robertson 
as  the  father  and  Enid  Bennett  as  the 
mother  had  the  most  to  do  in  their 
department,  although  Helen  Jerome 
Eddy  as  the  mother  of  Sooky  made 
iher  part  felt. 

There  is  a  goodly  sprinkling  of 
serious  drama  running  through  the 
picture,  the  kind  that  will  impress 
children  as  well  as  their  elders. 

Norman  Taurog  has  done  a  good 
job  in  the  handling  of  the  children, 
especially  the  little  fellow. 


SEED 


Jackson  J.  Rose 


Jackson  J.  Rose,  Cameraman 

BETTER  hang  up  a  bull's  eye  for 
Universal.      This    is    written    in 
advance  of  the  public  showing  of 
"Seed,"    Gladys    Lehman's    adaptation 
of   Charles    G.    Norris'    novel    of    the 
same  name. 

The  picture  has 
remarkable  ap- 
peal. Its  founda- 
tion is  the  fam- 
ily, which  is 
)ound  to  concern 
:he  majority  of 
i  u  m  a  n  beings. 
jThe  story  runs 
easily  and 
smoothly  for  two- 

birds     of     its 
ength.  During 

hat     period     it 
neasureably    i  n  - 

erests,  but  with  one  or  two  exeep- 
ions  without  noticeably  disturbing 
he  emotions.  The  final  third  digs 
leeply  into  the  feelings. 

The  tale  turns  upon  the  attraction 
f  children  to  men  of  maturer  years — 
vhen  the  men  are  older  and  the  chil- 
dren grown.  When  Peggy  Carter, 
interpreted  by  Lois  Wilson,  tells  her 
ival  Mildred,  played  by  Genevieve 
,'obin,  that  the  latter  may  take  her 
usband  but  cannot  hold  him  per- 
manently there  will  be  many  male 
keptics  who  listen  in  on  the  conver- 
sation. But  ten  years  later  when 
|hey  see  these  children  advancing  to 
lanhood  and  womanhood  they  realize 
ie  strength  of  the  wife's  position. 

The  denouement  of  the  story  comes 
hen  the  rival,  successful  for  ten 
'ears,  comes  to  the  first  wife  and 
'lis  her  she  has  won. 

John  M.  Stahl  has  directed  a  strong 
icture. 

With  the  exception  of  one  notable 
istance  and  possibly  one  other  minor 
ie  there  is  no  departure  from  the 
raight  line  of  wholesomeness.  The 
cceptions  cheapen  an  otherwise  im- 
■ccable  piece  of  work,  but  both  in- 


stances are  challenges  to  censors 
where  these  exist  and  at  least  one  of 
them  is  pretty  certain  to  be  accepted. 

Lois  Wilson  easily  carries  away 
the  honors  of  the  picture.  The  story 
lends  its  strength  to  this  end  and  she 
finely  meets  the  responsibilities  and 
the  possibilities  put  upon  her  and 
handed  to  her  by  the  author. 

Genevieve  Tobin  provides  abundant 
reason  for  a  man  leaving  home  even 
when  sheltering  five  children  of  his 
own.  In  spite  of  the  unpopular  side 
of  her  character,  so  well  drawn  is  it 
that  the  average  male  picturegoer 
will  be  in  doubt  as  to  which  woman 
should  get  the  decision  so  far  as  his 
personal  sympathies  are  concerned. 

John  Boles  carries  the  part  of  Bart 
Carter,  the  budding  novelist  shunted 
off  of  his  path  because  of  the  turbu- 
lence existing  in  a  household  of  five 
children.  Richard  Tucker  is  briefly 
seen  as  Bliss,  the  publisher,  and  Zazu 
Pitts  as  the  maid  of  the  Carter  house- 
hold. 


Glen  MacWilliams 


THE  FRONT  PAGE 

Glen  MacWilliams,  Cameraman 

IT'S    a    great   picture,    "The    Front 
Page,"     this     metropolitan     news- 
paper   picture    with    a    hick    title. 
But    probably    everybody    but    metro- 
politan newspaper  men  will  recognize 
what  is  meant,  which  after  all  must 
have      been      the 
chief  essential  in 
the  minds  of  the 
picture     men     re- 
sponsible  for  the 
adaptation  of  the 
story.  The  aim  of 
the  playwright  is 
not     to     be     any 
more      handicap- 
ped by  cold  facts 
than  were  the  re- 
porters     in      the 
pressroom  at  Po- 
1  i  c  e     Headquar- 
ters     telephoning 
in    their   versions 
of  what  was  tak- 
ing place  before  their  own  eyes — and 
incidentally  the  eyes  of  the  audience. 
The  reporters  were  so  far  at  vari- 
ance with  the  facts  it  became  farce 
comedy — and   the   house   roared   as   a 
matter  of  course,  and  seemingly  with 
no  exceptions. 

The  aim  of  the  playwright  is  to 
create  entertainment,,  with  laughter 
and  suspense,  to  keep  a  house  on  edge 
from  start  to  finish.  All  of  that  "The 
Front  Page"  notably  does. 

The  story  was  written  by  Ben 
Hecht  and  Charles  McArthur,  with 
Bartlett  Cormack  adapting.  Lewis 
Milestone  directed. 

The  backbone  of  the  tale  is  the  ef- 
fort of  Johnson,  a  twenty-five-year- 
old  reporter  on  the  Post,  to  quit  the 
service  of  Managing  Editor  Burns 
after  fifteen  years  of  close  relation- 
ship with  him  in  order  that  the  former 
may  marry  Peggy,  move  to  another 
city  and  enter  the  advertising  busi- 
ness. Johnson  has  in  his  pockets 
tickets  and  the  change  for  five 
hundred  bucks  supplied  by  the  bride 
and  all  set  to  go  when  things  happen 
— and   the   wedding   is   much   delayed, 


at   times   the   indications    being   there 
will  be  none. 

One  of  the  major  factors  of  the 
picture  is  the  cast,  there  being  twenty 
names  listed.  At  the  top  is  Adolphe 
Menjou,  who  plays  the  hard-boiled 
editor.  The  characterization  is  a 
treat,  crisp  and  blunt — the  opposite 
to  the  Menjou  we  have  known. 

Pat  O'Brien,  a  young  man  from  the 
stage,  has  the  part  of  Johnson,  the 
seceding  reporter,  and  puts  up  a 
corking  performance.  George  E. 
Stone  is  Williams,  the  condemned 
man  who  shoots  an  alienist  with  the 
pistol  loaned  by  the  sheriff  for  the 
examination.  Stone  tightly  holds 
the  stage  in  the  comparatively  few 
moments  it  is  given  to  him.  Sharing 
it  with  him  at  times  is  Mae  Clarke  as 
Molly,  the  girl  of  the  streets  who  in- 
sists the  condemned  man  has  not  had 
a  chance.  May  we  see  more  of  her 
work. 

Edward  Horton  has  a  lesser  role  as 
a  reporter,  one  of  the  mob  in  the 
room  provided  for  the  press  at  Police 
Headquarters.  He  is  portrayed  as 
quite  insistent  on  disinfecting  the 
place  on  slight  provocation,  all  of 
which  furnishes  a  colorable  excuse 
for  mention  of  a  patented  article.  The 
employment  of  Horton  for  the  minor 
part  is  just  an  example  of  the  lengths 
to  which  the  producer  went  in  his  ef- 
fort to  secure  a  high-class  cast. 

There  was  Effie  Ellsler,  that  Broad- 
way star  of  other  years,  as  the 
mother  of  Peggy,  played  by  Mary 
Brian;  there  was  James  Gordon  as 
the  mayor;  Clarence  H.  Wilson  as 
Sheriff  Hartman;  Slim  Summerville 
as  a  messenger  for  the  governor;  and 
Matt  Moore  and  Frank  McHugh  as 
denizens  of  the  reporter's  room. 

The  camera  department  is  given 
much  to  do,  and  does  it  well.  A 
goodly  bit  of  the  tale  is  unfolded 
through  the  use  of  the  lens,  graphic- 
ally enhancing  the  tension,  of  which 
latter  there  is  an  abundance. 

The  dialogue  smacks  of  the  fo'c'sle, 
of  the  chatter  of  men  who  work  to- 
gether and  drink  together,  whether 
on  sea  or  on  land.  In  shifting  the 
tale  from  the  stage  to  the  screen  an 
attempt  has  been  made  in  some  in- 
stances to  reduce  the  robust  dialogue, 
not  always  with  entire  success  so  far 
as  regards  conveying  the  real  atmos- 
phere, and  of  course  it  could  not  be 
expected  to. 

As  one  quite  proper  matron  from 
down  East  remarked  as  she  emerged 
from  under  the  spell  of  this  Caddo 
subject:  "I  know  of  course  it  is  a 
man's  picture  all  the  way,  and  while 
I  know  I  shouldn't  say  it  really,  you 
know,  I  liked  it  very  much." 


The  Deaf  Shall  Hear 

Twenty-two  additional  theatres 
have  had  Western  Electric  audi- 
phones  installed  for  the  hard-of-hear- 
ing  by  Electrical  Research  Products. 
They  are  representative  of  the  entire 
country. 


A  comprehensive  questionnaire, 
covering  all  phases  of  processing  of 
picture  and  sound  film,  is  now  being 
circulated  in  the  laboratories  by  the 
Academy. 


Thirty-two 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


Parichy  zvith  Camera  and  Pen 


(Continued  from  Page  21) 


of     the     nights     tie     your     emotions 
with  velvet  cords  of  Romance. 

The  lodestar  of  Granada  today,  as 
in  the  past,  is  the  Alhambra — a  fitting 
monument  to  the  Moslem  regime.  The 
legendary  haunted  magnificence  of 
this  grim  forbidding  structure  in  its 
strategic  spot  commanding  the  city 
below  has  never  been  dimmed  by  the 
Heel  of  Conflict  or  the  Shackles  of 
Time. 


Here  are  vast  courts  and  halls,  the 
walls  of  which  are  resplendent  with 
the  exhaustless  legacy  of  filigreed 
stucco,  tile  and  ivory  medallions  in- 
scribing the  immortal  wisdom  of  the 
Koran  and  exquisite  love  poems  and 
proverbs  so  dear  to  the  hearts  of  the 
followers  of  Mohammed. 

In  the  central  court  I  come  upon 
the  twelve  grotesque  Byzantine  lions, 
whose  stoney  eyes  have  witnessed  in 


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941     SYCAMORE    AVENUE,    HOLLYWOOD 


the  dim  past  gory  scenes  of  foul 
butchery  and  flashing  sword,  in  dash- 
ing episodes  of  Castilian  knights  and 
Moslem  maidens,  and  although  these 
melancholy  galleries  and  courts  are 
silenced  forever  I  find  it  not  hard  to 
repeople,  in  my  imagination,  these 
enchanting  gardens  with  pampered 
harem  damsels  of  loveliness  lingering 
above  tiny  fountains  that  now  seem 
strangely  vocal,  singing  a  requiem  of 
unquiet  waters. 

Despite  all  that  has  been  written 
words  are  inadequate  to  describe  the 
Court  of  the  Baths,  where  the  Sul- 
tana and  her  saffron  skinned  daugh- 
ters laved  in  sweet-scented  waters. 
Here,  they  tell  me,  a  bottomless  seep- 
age of  entrapped  oils  has  absorbed 
over  centuries,  where  the  essence  of 
rare  Eastern  perfume  still  emanates 
faintly  from  out  the  richly  gilded 
walls.  Looking  out  through  an  in- 
closure  in  the  courtyard  I  see  an  art- 
ist, painting.  His  canvas  will,  I  know, 
catch  the  beauty  of  what  the  eye  can 
see,  but  it  cannot  sense  the  exotic 
fragrance  of  the  exquisitely  pungent 
odor  that  permeates  these  chamber 
walls. 

Moorish   Enchantment 

My  imagination  is  intrigued  and 
held  captive  by  the  phantasmagoria 
of  the  Past,  in  the  mythical  yester- 
years of  "One  Thousand  and  One 
Nights."  Moorish  enchantment  and 
magic  surround  me,  and  these  royal 
maidens  of  the  court  seem  to  live 
again. 

I  see,  above  my  power  of  analysis, 
pictures  more  vivid  than  ever  Goya 
painted  of  jeweled  draperies  swaying 
gracefully  in  the  portals,  alike  the 
folding  of  peacock  feathers,  as  these 
cloistered  ladies  pass  in  phantom 
pageant.  .   .  . 

I  seem  to  see,  in  the  multicolored 
iridescence  of  glazed  tile,  conquests  of 
sword  against  scimitar  as  the  Cross 
and  Crescent  parallel  in  a  ten  year 
strife  of  barbaric  and  malignant  on- 
slaught. 

Suddenly  the  illusion  melts  from  my 
fancy,  taking  with  it  these  phantoms 
out  of  the  alert  pages  of  history  .  .  . 
beautiful  ladies  of  the  Moorish  Court 
return  to  their  somnolent  oblivion 
.  .  .  the  halls  and  galleries  of  my 
mythical  hallucination  become  the 
gray  counterfeiting  realities  of  To- 
day. 

The  interlude  of  this  phantasy  and 
its  melting  away  has  been  so  be- 
wildering that  I  am  unable  at  once  to 
adjust  my  mind  to  normal  focus. 

One  last  look  at  the  Alhambra  with 
her  towering  ramparts,  where  so 
much  of  history  has  been  written  and 
now  resounds  with  echoing  silences 
and  long  sighs  of  commendation  to 
the  banished  Moor  who  brought  the 
only  loveliness  into  a  drab  existence. 
An  Impromptu  Dance 

I  have  yet  before  me  another  phase 
of  Moorish  heritage  .  .  .  the  Hispanic 
Gitanos  of  the  Caves,  and  as  I  de- 
scend the  Alhambra  Hill  I  look  across 
the  River  Darro  to  the  neighboring 
Albaicin  mountainside  that  is  honey- 
combed with  the  cave  dwellings  of 
this  race. 

Anxious  to  see  these  gypsies,  famous 


May,  19.31 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-three 


in  song  and  story,  I  venture  up  the 
winding  trail  to  their  crude,  rock, 
cactus-framed  hovels.  The  headman, 
or  "King"  as  he  is  titled  among  his 
Gitano  followers,  greets  me  with  an 
uncouth  smile  upon  his  sun-rust  face 
as  he  assures  me  an  impromptu  dance 
can  be  arranged  for  my  entertain- 
ment. 

Ever  in  a  carnival  spirit,  this  band 
of  fortune  telling,  music  telling,  peo- 
ple reign  supreme  .  .  .  shrill  calls  of 
"Bailen  Uds!"  "Bailen  Uds!"  come 
from  full  bosomed  senoras  lazily  sun- 
ning themselves  on  hovel  stoops,  while 
they  watch  with  alert  eyes,  their  off- 
spring at  play. 

Strains  of  Invitation 

The  atmosphere  becomes  filled  with 
the  lilting  strains  of  invitation.  These 
troubadours  of  the  caves,  loitering  in 
secluded  doorways,  strumming  guitars 
and  humming  harmonies  of  love  songs, 
are  the  true  alchemists  of  the  musical 
quintessence  of  old  Spain. 

Presently  a  bevy  of  heavily  rouged, 
dangerously  pretty  Gitana  senoritas 
group  leisurely  about  me,  bedecked  in 
fiesta  costumes  of  gay  small  fringed 
shawls  and  wide  skirted  sleeves  in  a 
riot  of  embroidery.  Such  bizarre 
adornment  and  ensemble  of  coloring  I 
have  never  before  witnessed  .  .  .  and 
poised  perilously  atop  the  heads  of 
these  raven-haired  sirens  are  huge 
artificial  roses  of  scarlet  and  yellow, 
that  salute  mockingly  with  each  nod 
of  motion. 

Centuries  of  Nomad  Myth 

They  are  to  perform  for  me  the 
"Flamenco,"  a  glorious  resurrection  of 
Antiquity  .  .  .  the  dance  that  belongs 
to  the  ages,  having  absorbed,  through 
the  centuries,  all  the  characteristics 
of  the  Moorish,  Arab  and  Egyptian 
influence. 

The  dance  begins  in  a  slow  gyrating 
contortion  .  .  .  tapering  hands  clack 
the  castanets  .  .  .  shoulders  respond 
in  sheer  rhythmic  movement  .  .  .  hips 
yield  in  vibrant  grace  .  .  .  darkly  smil- 
ing black-onyx  eyes  blaze  in  unre- 
strained flames  of  Life,  tempered  with 
the  unfathomable  mysteries  of  the 
Orient  .  .  .  firm  white  teeth  wink  in  a 
sudden  glimmer  of  sunlight  as  the 
nonchalant  flight  of  gesture  plays 
upon  carmine  lips  that  move  in  mel- 
ody and  laughter  .  .  .  dreamily  out  of 
focus,  in  the  flying  dust  of  hard  earth 
floor,  are  the  high  red  heels  that 
stamp  to  the  clapping  and  emphasis 
of  the  beat. 

Figures   Devilishly    Bewitching 

There  seems  to  be  no  climax  to  the 
merriment  as  whirl  succeeds  whirl  in 
rapid  repetition.  Centuries  of  Nomad 
myth  and  charm  are  reborn  in  this 
interwoven  swaying  of  devilishly  be- 
witching figures. 

The  dance  stops  at  last,  for  the  God 
of  Terpsichore  must  give  way  to  the 
ever  mercenary  urge,  which  is  over- 
developed in  the  minds  of  these  cham- 
pion "chiselers"  ...  no  matter  how 
many  pesetas  one  gives,  it  is  never 
enough  to  satiate,  and  it  is  interesting 
to  watch  the  changing  expressions  and 
hear  the  maniacal  shouts  as  they  de- 
mand exorbitant  gratuities  for  their 


performance.  I  breathe  a  sigh  of  re- 
lief to  be  skinwhole  and  on  my  way 
again. 

Majestic  Panorama 

Every  step  of  the  way  offers  en- 
trancing views  of  the  majestic  pan- 
orama of  the  valley  below,  that  am- 
plifies my  regret  at  leaving  this  quaint 
city,  that  is  unmindful  of  Twentieth- 
Century  madness  ...  so  sleep  on,  lit- 
tle city,  and  let  not  modern  customs 
creep  in  to  sweep  away  your  Old 
World  charm. 

I  carry  away  with  me  a  cargo  of 
inflammatory  memories  .  .  .  j"Adios, 
Granada!"  .  .  . 

"Hasta  Manana!" 


Correctoscope  Is  Ready 

Hugo  Meyer  announces  its  new  Cor- 
rectoscope, a  precision  optical  instru- 
ment for  determining  the  distance  of 
a  subject  from  the  camera  and  for 
obtaining   the   correct   exposure    stop. 

The  Correctoscope  is  provided  with 
a  specially  constructed,  critical,  focus- 
ing lens,  in  a  focusing  mount  and  with 
diaphragm  control,  both  calibrated 
just  like  a  camera  lens.  The  image, 
which  is  reflected  through  a  prism,  is 
viewed  by  the  eye  through  a  highly 
corrected  magnifying  eyepiece,  the 
focus  of  which  is  adjustable  to  par- 
ticular eye  conditions.  The  image  is 
seen  right  side  up. 


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RECORDING 

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Send  for  Our  New   Illustrated  Catalogue 

And   Learn  About 

Practical  Portable  Sound  Recording 


Eugene  J.  Cour,  Chieago  Representative, 
1029  South  Wabash  Avenue 


Thirty-four 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


Twenty  Years  Ago 

GENE  COUR  was  the  staff  and 
only  photog-  on  the  Chi  Daily  Journal 
— The  Copper  mine  strike  and  Dayton 
floods  were  only  a  couple  of  genial 
Gene's  outstanding  scoops.  Them 
were  the  days  when  a  newspaper 
scoop  called  forth  plenty  of  individual 
initiative. 


By  HARRY  BIRCH 


MARVIN  SPOOR  was  preparing 
for  a  busy  career  behind  the  camera 
out  at  the  Essanay  plant.  This  was 
just  a  wee  bit  before  the  time  that 
Wallace  Beery,  Gloria  Swanson, 
Francis  X.  Bushman  and  several 
others  of  later  flicker  fame  were  on 
the  lot. 


TRACY  MATHEWSON  was  call- 
ing- Chicago  his  home  and  dividing  his 
time  between  cranking  for  newsreels 
and  shooting  stills  for  the  Hearst  Pa- 
pers. (Tracy  has  just  returned  from 
a  business  trip  to  Manaugua,  Nica- 
ragua. He  journeyed  down  there  on 
the  business  end  of  a  Pathe  Sound 
News  camera  and  brought  back  some 
excellent  as  well  as  exciting  negatives 
on  the  recent  upheaval). 


CHARLEY    DAVID    and    RALPH 
PHILLIPS   were  pondering  over  the 


Over  the  Grapevine 

Prexy  David  is  Sherman  Hotel- 
ling  these  days  .  .  .  Gene  Cour  like- 
wise is  New  Yorking  .  .  .  Spring- 
time, baseball,  thoughts  of  fishing 
and  golfing — and  ah!  just  to  con- 
template Red  Felbinger's  new  sum- 
mer golf  panties  draws  a  sigh  .  .  . 
Ralph  Phillips,  the  big  lab  man, 
is  holding  a  series  of  week-end 
parties  for  the  t.b.m.  of  the  loop 
over  at  his  rendezvous  near  Hud- 
son Lake.  'Tis  rumored  the  grog 
is  n.s.g.  .  .  .  Phil  Gleason  and  the 
hostess  blond  have  cooled  .  .  .  Roy 
Anderson,  down  in  oP  St.  Louis,  is 
grinding  again  .  .  .  Newsreelers 
have  declared  open  season  this  sum- 
mer on  the  16mm  get-in-the- 
wayers  .  .  .  Ralph  Lembeck  show- 
ing off  his  180  pound  soundie — it's 
all  his  salestalk  implies  .  .  .  Ralph 
Biddy,  filming  the  stanoil  tests  at 
Hoosier  speedway,  for  once  isn't 
looking-  for  crashes  .  .  .  Dick  Gan- 
strom,  Dave  Hargen  and  the  Jam 
Handies  just  completed  super  non- 
theatrical  for  Goodyear  at  Akron: 
good  reports.     More  anon. 


DUNNING 

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"Connecticut  Yankee"    Fox 

"Traveling  Husbands"    R.K.O. 

"Subway  Express"   Columbia 

"Rebound"   R.K.O.-Pathe 

"Dirigible"    Columbia 

"Front  Page"    United  Artists 

Our  projection  room  for  demonstration  of  Process  is  at  your  disposal. 

"Join    Dunning   and   See  the   World   from   a   Sound   Stage" 

"You  Shoot  Today — Screen  Tomorrow" 

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release  of  their  first  all-colored  cast 
comedy.  If  the  hard  boiled  audiences 
had  only  laughed  half  as  hard  as 
Charley  and  "Bull"  did  while  they 
were  shooting  these  pichurs — we  are 
sure  that  these  two  veteran  producers 
would  have  depleted  the  African  tusk 
market. 


BOB  HOLLAHAN  broke  forth  with 
speed  flash  appliances  for  his  Chi 
Daily  News  still  camera  and  astounded 
the  local  lens  jugglers  with  a  series 
of  remarkable  action  flashlights. 


SIX-SIXTY-SIX 


Sound  Track  Takes  the  Air 

What  is  said  to  be  the  first  sound 
on  film  broadcast  ever  made  was  put 
on  the  air  by  Ralph  Lembeck  and  Bob 
Butler  at  Station  WLW  a  few  weeks 
ago. 

Securing-  permission  of  the  Federal 
Radio  Commission  to  use  a  short  wave 
station — these  ambitious  six-sixty- 
sixers  hope  to  have  most  of  the  civil- 
ized world  listening  in  on  their  next 
projector  broadcast. 

Economy  and  portability  of  this 
method  of  recording-  radio  programs 
have  lent  considerable  interest  to  the 
tests  being-  conducted,  and  it  is  as- 
sumed that  the  near  future  will  see  its 
general  use.  The  Cincinnati  station 
is  proud  to  have  had  the  first  oppor- 
tunity of  placing  this  innovation  be- 
fore the  public. 

SIX-SIXTY-SIX 

In  Focus — In  Spots 

By  the  Sassiety  Reporter 

I  USED  to  stand  behind  my  ole 
groan  box  on  many  a  cold  Satur- 
day afternoon  on  top  of  the 
Stadium  down  at  Notre  Dame,  next  to 
a  whole  gang  of  the  666  grinders  and 
just  kinda  gloat  every  time  the  Irish 
made  another  touchdown.  So  did  all 
the  other  lense  focusers,  and  not  ex- 
actly because  Notre  Dame  was  our 
Alma  Mammy,  but  we  knew  it  kinda 
musta  tickled  the  boss  of  that  outfit 
down  there  on  the  sidelines  who  the 
world  called  the  Wizard,  "Einstein  of 
the  Grid,"  etc.,  but  who  to  us  baboons 
up  there  in  the  whistling  wind  wuz 
just  referred  to  as  "Rock." 

The  other  day  the  news  printers 
banged  out  three  electrifying  words — 
"Rockne  Is  Dead."  It  sure  did  hit 
the  666  newsreelers,  as  Rock  was  the 
one  regular  guy  we  did  love  out  here 
in  the  Windy  City  territory. 

I  ain't  the  bird  to  write  a  eulogy  on 
any  man,  but  I  jest  want  all  the  birds 
what  read  this  to  know  that  Rock's 
passing  is  sure  felt  by  the  middle  west 
newsreel  gang,  and  I  don't  know  how 


May,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-five 


exactly  to  say  it,  but  I  think  if  I  can 
quote  you'll  get  what   I  mean. 

At  the  funeral  Brother  Charles  Geis 
made  the  comment  while  setting  up 
for  the  last  shot  of  Rockne. 

Real  Eulogy  at  That 

Charlie  said:  "You  know  about 
three  years  ago  when  we  all  wanted 
to  make  a  story  on  spring  training 
and  we  had  to  make  a  deadline  with 
it  and  how  Rock  disrupted  a  whole 
afternoon  of  classes,  while  all  the  pro- 
fessors stormed,  so's  we  could  make 
the  issue?" 

And  Brother  Geis  picked  up  a  maga- 
zine as  he  continued:  "Well,  he  al- 
ways sure  did  do  anything  for  us  that 
we  asked  for  and  there  ain't  many 
birds  like  that  left." 

And  then  I  kinda  figgered  that  ex- 
plained Rockne.  All  the  world  wor- 
shipped him  as  the  BIG  hero,  but 
Rockne  never  got  the  big  head  like 
most    birds    do. 

Well,  next  football  season  the  game 
will  go  on  at  Notre  Dame,  the  wind 
will  whistle,  the  Irish  will  make  an- 
other touchdown,  and  up  there  atop  of 
the  press  box  a  handfull  of  666 
crankers  will  kinda  gloat  because 
they'll  know  Rock,  the  boss,  up  there 
in  eternity  will  be  tickled  as  his  eter- 
nal spirit  leads  his  fightin'  Irish  on 
out  there  on  the  Grid. 

"So  long  and  g^ood  luck  on  the  last 
down,  'Rock!'  The  news  boys  of  666 
put  you  in  first  place  of  'regular  guys' 
in  life,  and  it's  your  spot  for  immor- 
tal keeps!" 

SIX-SIXTY-SIX 

Cycles,  Not  Wheels 

Remember  way  back  when  Brother 
Charles  Chapman  was  a  sane  news- 
reel  camera  man?  Well,  times  do 
kinda  change  now  and  then.  Chap  is 
breezin'  about  now  talking  all  about 
6000  cycles,  high  frequencies,  stages 
of  amplification,  and  it  looks  to  me 
like  the  ole  Demon  "Sound"  has 
caught  up  with  another  celluloid  vet- 
eran. 

And  talking  about  Chap,  that  re- 
minds me  of  the  good  ole  daze  when 
Chap    was    head    of    the    local    Pathe 

,  News  office  and  Brother  Hollahan  and 
myself  used  to  have  to  steal  the  only 
Eymo  in  the  office  out  of  Chap's  car 
so's  we  didn't  have  to  drag  the  goddam 

.  Akeley  out  on  a  story. 

Maybe  them  Akeley  cameras 
wouldn't   be   a    treat   to    drag   around 

.now,  tho.  It  seems  like  them  old  sound 
growlers  get  heavier  everytime  you 
pick  'em  up. 

SIX-SIXTY-SIX 

Safety   First 

Well  the  boys  all  did  a  stretch 
again — this  time  in  the  pen  out  at 
Joliet,  the  occasion  being  a  little  hot 
time  the  prisoners  put  on.  Charlee 
Ford  and  his  aid,  Jack  Bennett,  went 
up  for  Universal,  Norm  Alley  made 
Neems,  Gleason  and  Morrison  file  in 
!  in  lock  step  formation,  and  Yours 
Trooly  dragged  Robertson  out  to  com- 
plete the  six-six-sixers. 

Some  of  the  prisoners  didn't  like 
the  looks  of  the  camera  snoopers,  and 
from  their  cells  spoke  their  minds 
and  payed  some  mighty  strong  trib- 


utes to  our  old  lense  users. 

Well  it  kinda  peeved  Eddie  Morri- 
son when  one  of  the  inmates  yelled 
out  and  called  him  a  such  and  such. 
Eddie  turned  to  one  of  the  guards  that 
was  assigned  to  us  and  says: 

"Hey!  is  all  them  birds  locked  up 
now?" 

"Yesiree,"  says  the  guard. 

"Well,  then,"  says  Eddie,  crying 
back  to  where  the  razzberry  came 
from:  "You're  all  a  lot  of  dirty  so 
and  so's." 


brothers  and  showed  off  his  collection 
of  tin  badges  he  is  collecting  in  his 
roamings  over  the  middle  west. 

He  claims  to  be  Assistant  Chief  of 
Police  out  in  Des  Moines,  but  Eddie 
Morrison  and  Phil  Gleason  are  won- 
dering how  come  a  guy  what's  got  so 
many  tin  stars  got  a  ticket  for  park- 
ing a  little  while  too  long  in  South 
Bend. 


SIX-SIXTY-SIX 


SIX-SIXTY-SIX 


Did  He  Say  They  Were  Props? 

Brother  John  Herrmann  of  659, 
traveling  through  this  country  the 
other  day,  bust  in  on  a  bunch  of  the 


How  Does  He  Get   That    Way 

Skipper  Alley  of  this  here  Page 
says  for  me  to  cut  the  collim  down  a 
little  this  month.  Maybe  he  meant 
cut  it  out,  and  seein'  as  how  I  got 
Spring  fever  I  better  sign  off  right 
here  till  next  month. 


CAMERAMEN! 

Protect  Your  Salary 

If  illness  or  accident  should  prevent  your  working  and  cause 
the  bills  to  pile  up — then  what?  Take  a  small  part  of  your 
annual  income  and  make  sure  that  money  will  keep  on  com- 
ing in. 

Here  are  special  cameramen's  rates. 

FOR  ACCIDENTS: 

$150  per  month,  from  FIRST  DAY,  and  payable  as  long  as  you 
live  and  are  disabled  in  engaging  in  any  occupation  for  wage 
or   profit. 

$300  per  month  payable  as  above  should  accident  occur  on  a 
public  conveyance,   passenger  elevator,   fire,   etc. 

$300    per   month   while   confined   to   hospital,    up   to   two    months. 

$    75    a    month   if   partially   disabled   but   able   to   attend  business. 

FOR  SICKNESS: 

$150    per   month    beginning   the    FIRST    DAY   and    payable   as   long 

as  you  live  and  are  disabled  and  confined  to  the  house. 
$300    a   month   while   confined  to  a   hospital,    up  to  two  months. 
$150   a    month   for   non-confining   illness,    up    to    two   months. 

EXTRA  ALLOWANCES: 


For     operations,     in     addition     to 
Sickness. 


ibo^ 


for 


ithe 


ident 


EXAMPLE : 

If  you  went  to  the  hospital  for  a  month;  then  were  confined  to 
your  home  for  a  month;  and  then  spent  one  month  recuper- 
ating away  from  work,  the  Company  would  pay  you  $600, 
plus    extra   money   for   an   operation. 

SPECIAL:       CAMERAMEN'S    RATES.     AGES    18   TO   49. 

Annually    $  I  I  3.00  Quarterly 29.00 

Semi-Annually 57.25  Monthly 10.50 

Rate    Reduced   to    $88.00    Annually    -with    1st   week    eliminated 

A   Policy    Fee  of   $5.00    is    required   with    first    premium. 

Telephone  for  Sample  Policy  or  for  Appointment 
at  Studio  or  Residence 

Different    Rates    for    other    occupations.       Inquire! 

ALBERT  IS4  IIMIS 

HOLLYWOOD 


310  TAFT  BLDG. 


GR.  1721 


All    Risk    Camera    Insurance    Costs    2('f.       Worldwide    3% 


Thirty-six 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


Fearless  Camera  Convertible  35-50 


Designed  to  Be  Silent  and  for   Photographing* 

Color  Pictures  Without  Alterations — 

Ten  Minutes  for  Width  Shift 


THE  new  Fearless  camera  is 
built,  first,  to  be  silent  so  that  it 
can  be  used  in  the  open  without 
any  sound-proof  covering  for  all  ordi- 
nary shots;  second,  the  design  allows 
sufficient  room  to  accommodate  film 
up  to  50  mm.  in  width;  third,  it  read- 
ily can  be  converted  to  the  special 
width  films;  fourth,  for  taking  col- 
ored pictures  in  the  camera  without 
any  alterations;  fifth,  for  recording 
sound  directly  in  the  camera  if  so  de- 
sired, and  lastly  and  most  important, 
35  mm.  film  can  be  used  in  it  also. 

From  the  cameraman's  point  of 
view,  the  most  interesting  feature  is 
that  of  being  able  to  use  the  camera 
for  either  35  mm.  or  wide  film.  The 
camera  is  normally  equiped  for  35 
mm.  film.  A  special  movement  for 
50  mm.  film  has  been  developed,  and 
this  movement  is  interchangeable 
with  the  35.  Two  interchangeable 
sprocket  and  roller  assemblies  have 
been  developed.  One  is  for  35  mm. 
film  and  the  other  for  50  mm.  So 
merely  by  removing  one  movement 
and  sprocket  assembly  and  substitut- 
ing the  other,  the  camera  can  be  used 
for  either  size  film.  This  feature  ap- 
plies to  any  other  size  film  up  to  50 
mm.  The  changeover  from  one  size 
to  the  other  can  be  made  in  less  than 
ten  minutes. 

The  magazines  also  are  convertible 
for  film  sizes  up  to  50  mm.  This  is 
accomplished  by  providing  the  film 
rollers  with  a  relief  so  that  the  35 
mm.  film  is  properly  guided  into  the 
magazine  and  by  furnishing  special 
take-up  spools  for  the  narrow  film. 
These  spools  hold  the  film  central  in 
the    magazine    and    prevent    it    from 


creeping,  to  one  side  or  the  other. 
In  fact,  they  practically  act  as  a  film 
reel.  . 

Special  Adapter 

Standard  35  mm.  magazines  also 
can  be  employed  on  the  camera  when 
using  35  mm.  film,  thus  making  it 
possible  to  retain  some  of  the  equip- 
ment the  producer  now  has.  This  is 
accomplished  by  making  a  special 
adapter  which  fastens  on  top  of  the 
camera.  This  partially  covers  the  hole 


Showing  new  Fearless  motor  adapter 

and  clutch  combination  for  mounting 

motor  directly   on  camera 

for  the  large  size  film  and  excludes 
all  light  from  the  inside  of  the  cam- 
era when  using  the  35  mm.  maga- 
zines. With  the  adapter  in  place 
standard  35  mm.  magazines  can  be 
used. 

Other   features    of   the   camera   in- 
clude   a    quick    focusing    device,    full 


force  feed  lubrication  to  all  major 
driven  parts,  all  driving  parts  being 
inclosed  and  running  in  an  oil  bath, 
two  built-in  footage  counters  and 
built-in  three-speed  dissolving  gear 
mechanism.  The  camera  also  may  be 
equipped  for  sound  recording  within 
the  camera. 

To  elaborate  on  the  method  of  fo- 
cusing the  photographic  lens  the 
camera  is  built  with  a  sliding  turret 
and  lens  carrier  on  the  front  of  the 
camera  box.  This  carrier  is  mounted 
in  dovetails  and  so  constructed  that 
it  may  be  shifted  across  the  front  of 
the  camera  box  to  a  point  where  the 
photographic  lens  is  in  front  of  the 
ground    glass    of    the    focusing    tube. 

The  lens  carrier  is  made  so  that  the 
light  shade  is  mounted  to  it,  and  in- 
stead of  having  to  shift  the  camera, 
magazine,  motors,  cables,  etc.,  only 
the  light  weight  lens  system  and 
matte  box  is  shifted. 

The  actual  shifting  is  accomplished 
by  merely  pressing  down  a  knob  and 
moving  a  lever  from  one  side  of  the 
camera  to  the  other.  This  focusing 
operation  is  performed  so  quickly 
that  it  has  been  a  revelation  to  all 
who  have  seen  it.  Suitable  stops  pre- 
vent overtravel,  and  suitable  locks 
are  provided  to  hold  the  lens  carrier 
either  on  the  focusing  position  or  in 
the   photographic   position. 

The  image  is  viewed  with  a  con- 
ventional finder  or  focusing  magni- 
fier, which  is  supplied  for  either  five 
or  ten  power.  The  focusing  telescope 
is  of  the  simple  astronomical  type, 
and  reinverts  the  inverted  image 
formed  by  the  lens  on  the  ground 
glass,  thus  bringing  the  viewed  image 
right  side  up  and  right  side  to. 
Absorbing  Vibration 

The  camera  can  be  furnished  with 
a  built-in  auxiliary  recording  aper- 
ture at  the  proper  distance  from  the 
photographic  aperture  and  sprocket 
for    recording    sound    directly    in    the 


ROY  DAVIDGE  FILM 
LABORATORIES 

An  Exclusive  '  ''Daily ' '  La  boratory 

Quality  and   Service 

6701-6715       SANTA     MONICA       BOULEVARD 

GRanite    3108 


May,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-seven 


camera.  The  auxiliary  sprocket  for 
pulling  the  film  past  the  sound  re- 
cording aperture  is  driven  by  a  mech- 
anism designed  to  absorb  vibration 
so  that  the  sound  recorded  is  free 
from  the  so-called  wow-wows  caused 
by  irregularity  of  film  speed  by  the 
sound  aperture. 

This   feature    of   built-in    sound   re- 
cording makes  it  possible  for  the  pro- 
ducer using  wide  film  to  make  sound 
pictures    at    once    without    having    to 
wait  for  new  recording  apparatus  for 
the    new    size    film.    The    design    is 
.   adaptable  to  almost  any  type  of  light 
,   valve  or  glow  lamp  type  of  recording. 
A    standard    Fearless    Silent    move- 
ment is   used    to   feed   the    film    past 
the  aperture.  Two  claw  pins  are  em- 
ployed   on   each    side    of   the    film    to 
pull  the  film  down  and  pilot  pins  are 
\  used  to  lock  the  film  during  the  expo- 
sure.     This    movement    is    extremely 
i  easy  to  thread,  and  due  to  simplicity 
of  design  and  accuracy  of  workman- 
ship is  so  silent  that  only  by  placing 
,  the    ear    against    the    frame    of    the 
movement    can   any    sound    be    heard 
while  in  operation. 

The  camera  has  been  designed  for 
silence  throughout,  and  extreme  pains 
have   been    taken    in   the    design    and 
.  construction  to  eliminate  noise  wher- 
i  ever    possible.      The    camera    can    be 
;  used    in    the    open    for    all    ordinary 
',  shots    without    any    sound-proof    cov- 
ering. 

This  has  been  accomplished  by  us- 
ing fibre  gears  to  transmit  the   pow- 


Exterior  of  Fearless  camera  showing 
among  other  features  Fearless  silent 
movement  and  sprocket  assembly 
which  may  be  removed  for  installation 
of  other  size 

er,  precision  bearings  for  driving 
shafts,  and  by  inclosing  all  moving 
mechanism  outside  of  the  movement 
and  sprocket  assembly  in  an  oil-tight 
and  sound-proof  compartment  which 
serves  as  an  oil  reservoir. 

Pressure  Feed  Lubrication 
An  oil  pump  within  this  compart- 
ment pumps  oil  to  all  bearings  and 
moving  parts.  This  circulating  oil 
deadens  any  noise  developed  by  the 
mechanism.  The  oil  level  may  be 
viewed  through  a  window,  built  into 
a  plate,  that  covers  the  mechanism 
compartment.  Sufficient  oil  is  placed 
into  the  compartment  to  last  for  sev- 


eral months.  All  high  grade  auto- 
mobiles use  pressure  feed  lubrication, 
but  this  is  the  first  time  it  has  ever 
been  applied  to  a  motion  picture 
camera. 

The  motor  drives  directly  into  an 
extension  of  the  movement  cam 
shaft,  thus  transmitting  the  motor 
power  directly  to  the  most  highly 
stressed  part  of  the  camera  and  elim- 
inates a  great  deal  of  noise  caused 
from  gears.  The  motor  itself  absorbs 
any  vibration  caused  by  the  intermit- 
tent movement. 

Silent  bakelite  gears  are  used  to 
drive  the  sprockets  and  shutter  shaft. 
A  large  heavy  shutter  of  the  two 
opening  type,  running  at  a  speed 
one-half  of  the  intermittent  mechan- 
ism, is  used  for  a  flywheel.  This 
heavy  revolving  shutter  also  absorbs 
any  noise  that  might  be  transmitted 
to  the  front  of  the  camera. 

Wherever  possible  instrument  type 
precision  annular  ball  bearings  have 
been  used  to  reduce  friction  and  to 
insure   long  life  to  the   instrument. 

Two  footage  counters  are  built  into 
the  camera,  one  being  used  for  total 
footage  shot  and  the  other  for  indi- 
vidual takes. 

An  anti-buckle  device  is  incor- 
porated within  the  camera,  which  au- 
tomatically maintains  the  proper  ten- 
sion upon  the  magazine  belt.  This  is 
accomplished  by  passing  the  film  over 
three  rollers  within  the  camera.  The 
middle  roller  is  pivoted  upon  an  arm 


14 


The  only  institution  of  its  kind  in  the  world 


^ 


c,n&5 

HIGHLAND   AVENUE    AT   HOLLYWOOD 

BLVD. 

HOLLYWOOD,   CALIF. 

CHICAGO     OFFICE — 144     WEST     GRAND 

AVENUE 

Foreign   Branches 

London,    England:     10    D'Arblay    St. 

Sydney,    Australia:    No.    4-C    Her    Majesty's 
Arcade. 

Manila,  Philippine  Islands:  No.  227  David  St. 

Mexico   City.  Mexico:    Paseo  de   la   Reforma 

36'/... 

Buenos    Aires,    Argentina:     500    Sarmiento. 

Lima,    Peru:    Edincia   Mineria. 

Honolulu,   T.    H.:    720   South  St. 

Johannesburg,    South    Af  i  ica :    Corner    Jou- 
bert  and   Kerk   St. 

Habana,    Cuba 
H-130,   Vedado 


The  members  of  Photographers'  Local  659  individually  unqualifiedly  indorse 

MAX  FACTOR'S   MAKE-UP 


MAX  FACTOR'S  MAKE-UP  STUDIO 


HOLLYWOOD,  CALIFORNIA 


Thirty-eight 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


Camera  open  showing  oil  containers.     2.     Camera  closed  showing  counters 
and  dissolve  controls 


and  maintains  a  constant  tension  upon 
the  films  by  means  of  a  spring. 

In  the  event  that  the  film  tension 
slackens  through  belt  slippage  or 
otherwise  this  middle  roller  is  pulled 
to  one  side  by  the  spring  and  through 
a  lever  this  motion  is  transmitted  to 
an  idler  pulley  working  on  the  mag- 
azine belt.  This  idler  pulley  tight- 
ens the  belt  and  the  slack  film  is  im- 
mediately drawn  into  the  magazine. 

In  practice  this  device  controls  the 
film  take-up  so  that  an  even  tension 
is  maintained,  no  matter  what  diam- 
eter the  roll  of  film  may  be.  In  this 
way  film  buckles  caused  by  improper 
film    take-up   are    eliminated. 

Provision  is  made  for  attaching  a 
standard  Fearless  tripod,  equipped 
with  a  stud  which  can  be  turned  by 
suitable  gears  and  which  engages 
with  a  bronze  nut  inserted  in  the 
camera  case.  The  camera  crank  is 
used  actually  to  deliver  power  to  the 
stud  to  screw  the  camera  to  the 
tripod. 

A  word  regarding  the  new  Fearless 
magazine.  A  camera  magazine  at 
first  thought  appears  to  present  no 
problems,  but  with  a  little  thought 
any  cameraman  will  realize  that 
thousands  of  feet  of  film  have  been 
spoiled    by    the    magazine.    Scratches 


are  one  of  their  worst  faults.  Prac- 
tically all  buckles  in  a  camera  are 
caused  by  improperly  constructed 
magazines. 

Most  magazines  are  extremely  hard 
to  thread,  and  it  is  almost  impossible 
to  keep  them  clean;  and  in  every  case 
it  takes  a  great  amount  of  labor  to 
dismantle  the  magazine  to  remove 
rollers  and  light  trap  for  cleaning. 

Realizing  all  these  handicaps,  che 
Fearless  Camera  Company,  under  the 
management  of  Ralph  G.  Fear,  has 
perfected  a  new  type  magazine  which 
overcomes  the  troubles  found  in  most 
of  its  brothers.  These  were  designed 
primarily  for  silence,  serviceability, 
durability  and  reliability,  and  are  ex- 
tremely easy  to   load. 

The  main  magazine  casting  carries 
the  take-up  rollers  and  spools.  This 
assembly  is  on  imported  instrument 
type  annular  ball  bearings.  The 
spool  will  turn  thirty  to  forty  rev- 
olutions, even  when  loaded  with  a 
thousand  feet  of  film,  if  it  is  twisted 
quickly  by  hand.  In  fact,  the  film 
moves  so  freely  that  one  hardly  be- 
lieves that  there  is  film  in  the  mag- 
azine. 

Film  is  fed  from  the  carrier  spool 
through  a  free  opening  light  trap. 
The  light  is   trapped   by  two   rollers 


Faxon  Dean  Resigns 

Executive  Board,  Local  659,  I.  A. 

T.  S.  E. 
Gentlemen: 

I  hereby  resign  as  a  member  of 
your  Board,  effective  at  your  rea- 
sonable  convenience. 

In  severing  the  relations  of  more 
than  three  years,  including  as 
these  do  the  duties  of  the  chair- 
man of  the  board  of  trustees  from 
the  inception  of  the  organization, 
I  hope  you  will  understand  the 
action  is  not  lightly  taken. 

I  want  to  express  to  the  officers 
and  members  of  the  Local  and  es- 
pecially to  the  members  of  your 
Board  my  hearty  thanks  for  their 
cooperation  and  support  during 
that  period. 

FAXON  M.  DEAN. 

April  17,  1931. 


which  are  also  mounted  on  precision 
instrument  type  ball  bearings,  and 
by  a  velvet  lining  in  the  throat  of 
the  magazine.  The  rollers  are  made 
from  duralumin  and  the  roller  shafts 
are  of  steel.  The  light  trap  is  remov- 
able from   the   magazine. 

Six  screws  in  the  bottom  of  the 
magazine  hold  it  in  place  in  the  main 
easting.  These  may  be  removed  in 
a  few  seconds'  time  and  the  entire 
light  trap  removed.  The  light  trap 
assembly  can  be  quickly  taken  apart 
by  removing  four  screws  from  the 
side  of  the  casting.  In  fact,  the  light 
trap  can  be  removed,  completely  dis- 
mantled, cleaned,  and  reassembled  in 
less  than  ten  minutes'  time. 

In  developing  this  magazine,  cost 
was  not  taken  into  consideration,  say 
the  makers,  as  it  was  felt  the  loss  of 
one  roll  of  film  caused  by  scratches 
would  represent  a  sum  larger  than 
that    of   the    added    cost. 


edward  kearns 

assistant 

cameraman 

2464  ho 

llyridge  drive 

hills 

ide    4352 

King  Charney  says ... 

WHETHER  IT  BE  CARBON  OR  INCANDESCENT  LIGHTING 
WHETHER  IT  BE  TALKIES  OR  SILENT 


Insist 

Upon 


Negative 


For  definite  results 

AGFA  RAW  FILM  CORPORATION 


May,  1931 


The    INTERNATIONAL    PHOTOGRAPHER 


Thirty-nine 


NEW 

Trueball  Tripod  Heads 

Of  Special  Alloy,  Lighter  Weight 


MODEL   B    (PROFESSIONAL! 

Smooth  operation  for  follow  shots. 
Equal  tension  on  all  movements. 
Action  unaffected  by  temperature. 
Instant     release     telescopic     handle. 

FRED  HOEFNER 

Cinema  Machine   Shop 

5319   Santa   Monica   Blvd. 

GLadstone  0243  Los  Angeles 


Cameras 
Lenses 

GUARANTEED 

To  Give  Results 

Petersons  camera  exchange 

356  So.  Bdwy.  Los  Angeles 

Send  For  Bargain  List  / 


Cinex  Testing  Machines 
Cinex  Polishing  Machines 


Developing   Machines 

Printing   Machines  rebuilt  for 

Sound  Printing 

Special  Motion  Picture  Machine 

Work 

Barsam  -  Tollar 
Mechanical  Works 

7239  Santa  Monica  Blvd. 

Hollywood,  California 

Phone  GRanite  9707 


The    new    "Local    659"    emblem. 
Small,  chic  and  attractive.     Or- 
der from  your  Secretary  or  direct 
from  manufacturers. 

J.  A.  Meyers  &  Co. 

822  South  Flower  Street 
The    largest   jewelry   factory 

in  the  West 
Diamonds — Watches — Jewelry 


Phone  GLadstone  4151 

HOLLYWOOD 
STATE  BANK 

The  only  bank  in  the  Industrial 

District  of  Hollywood  under 

State   supervision 

Santa   Monica    Boulevard   at 
Highland  Avenue 


ILTEHS, 


FvjScfnvx-  UiHuiHTroa  wrt  mwiy  ? ttwr  fffrcts. 

cAste.  youp  dealers  ov  tc/pite  to 

GEORGE  H.SCHEIBE 

PHOTO-FILTER  SPECIALIST 


GOERZ 


Staats- 

Newcomer- 

Goerz 

CINE-PANOR 

for   your   Recreational 
Movie  Camera 

The  Cine-Panor  does  not 
function  like  the  ordinary 
wide  angle  lens.  The  wide 
angle  amateur  movie  lens  is 
panoramic  to  the  extent  that 
it  increases  the  field  of  view 
but  compresses  it  to  the  lim- 
itations of  the  standard 
16mm.  picture  proportion. 
The  Cine-Panor  is  a  pan- 
oramic lens  which  gives  you 
true  wide  angle  perspective 
on  the  screen  by  increasing, 
in  a  horizontal  direction,  the 
size  of  the  screen  throw  by 
507c. 

Send   for  booklet  IP4 


C.P.GOERZ  AMERICAN  OPTICAL  Co 

319  B  EAST  34™  ST.     NEW  YORKCITy 


MELROSE 

Trunk  Factory 

UNION  MADE  Camera 

Cases  for 
UNION  CAMERAMEN 

UNION   MADE   Camera   Num- 
ber Boards 


Trunk  and  Luggage  Repairing 
Our  Specialty 


Automobile  Trunks,  Sample  and 
Make-Up  Cases  to  Order 

GLadstone  1872     646  N.  Western 
LOS  ANGELES,  CALIF. 


Ca 

sh . . . 

For     p 

rofessional      Bell      & 

Howell 

and  DeBrie  cameras. 

Send  fu 

11  description  for  cash 

offer. 

Or    telegraph     Bass 

Camera 

Company,  179  West 

Madison  street,  Chicago, 

Illinois. 

Forty 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1931 


W.  A.  SICKNER 

FIRST  CAMERAMAN 

COMPLETE 

AKELEY 
EQUIPMENT 

CRestview  7255     GLadstone  5083 
HEmpstead  1128 


Glenn  R.  Kershner 

First  Cameraman 


£^0C^ 


Culver  City  3154 


ELMER  G.  DYER 

HE8116-HE1128 


Walter  J.  Van  Rossem 

PHOTOGRAPHIC  LABORA- 
TORY. 
MITCHELL    CAMERA    No.    225, 

COMPLETE,   FOR  SALE 

HOlly  0725      6049  Hollywood  Blvd. 

Hollywood,  California 


Alvin  Wyckoff 

Multicolor 


George  B.  Meehan,  Jr. 

Specializing   in 

Process 

Miniature,  Trick  and 

Unusual  Shots 

4128   Rhodes   Avenue 

North  Hollywood 
Phone  No.  HO.  2280 


CLASSIFIED 


Turn  your  scrap  film  and  short 
ends  into  cash 

HORSLEY  CHEMICAL 
COMPANY 

1123  Lillian  Way      GLadstone  5490 
Hollywood 


Dr.  G.  Floyd  Jackman 

DENTIST 

Member   Local   No.    659 

706    Hollywood    First    National   Bldg. 
Hollywood  Blvd.   at   Highland  Ave. 


GLadstone   7507  Hours: 

And    by   Appointment 


9    to   5 


FOR   SALE— Cameras— Mitchell,   Bell   &   How- 
ell,   Akeley ;    lenses    and    accessories    of    all 
kinds ;    new    and    used.     HOLLYWOOD    CAM- 
ERA  EXCHANGE,    1511   Cahuenga  Boulevard. 

WANTED,  second  hand  Leica  Camera  En- 
larger  ;  must  be  in  good  condition.  Jackson 
Rose,    care    International    Photographers. 

MITCHELL  high-speed   Camera  No.   225.    Van 
Rossem,   6049  Hollywood   Blvd.     HO   0725. 

FOR     SALE — Mitchell     Camera    equipped    for 
black    and    white   or   for    Multicolor.      Harry 
Perry,     OXford     1908. 

FOR  SALE — Bargains  in  cameras,  lenses,  new 
and  used.  Voigtlander  9x12  cm  with  F  4.5 
lens,  $30.  Sept,  complete,  $25.  Rolleidoscope 
$135  size  6x13.  Leica  with  F  1.5  lens,  com- 
plete $95.  Stineman  16mm  printer,  $45.  Oth- 
ers ;  also  rentals,  repairs,  exchanges  at  Peter- 
sons   Camera   Exchange,    356    S.    Bdwy.,    L.    A. 

MUST  SELL  MY  NEW  400  FOOT  UNIVER- 
sal  35  M.M.  Motion  Picture  Camera  com- 
plete, F  3.5  B  and  L  Tessar  lens.  Shipping 
trunk  in  addition  to  regular  case  included, 
Original  cost  $685.00,  sell  for  $150.00  cash. 
Guaranteed  perfect  in  every  way.  Box  10005, 
REXO   Bulletin,   223   W.   Madison   St.,   Chicago., 

FOR     SALE— Mitchell     highspeed     gear     box; 
nearly   new;   bargain,    $150.     Hillside   4025. 


With  Compliments 
Earl    (Curly)    Metz 

Assistant  Cameraman 


James  E.  Woodbury 

Portrait   and   Commercial 
Photographer 

GRanite  3333     5356  Melrose  Ave. 
Los  Angeles,  Calif. 


"THE  SINGLE  SIN" 

A   Tiffany   Production 
Photographed  by 

Max  B.  Du  Pont 


//  you  want  to  sell  or  buy  this  is  the 
place  to  tell  your  story. 


Art  Reeves 
Cliff  Thomas 


Phone 
HOIIywood    9431 


y^AMEfii 

IXCHANQE 


1511    N.    Cahuenga    Blvd. 

HOLLYWOOD,   CALIFORNIA 


The  Clearing  House 
for  Cameramen 

Mitchell  and  Bell  &  Howells    FOR  RENT 

Cameras   and    Projectors   and 
Accessories   bought   and   sold 

Commercial  Photography 


Kodak  Supplies 


Still  Finishing 


16  mm.,  35  mm.  Developed  and  Printed 


"One  Picture 

Is  Worth  Ten  Thousand  Words — ,; 


Thirty  Three  Pictures 

Produced  in  Hollywood — 


— exclusively 

EASTMAN 

SUPERSENSITIVE 
PANCHROMATIC 

(TYPE  TWO) 

NEGATIVE 


J.  E.  BRULATOUR,  Inc. 

NEW  YORK  HOLLYWOOD  CHICAGO 


INTERNATIONAL 
3HOTOGRAPHF 


HOL 


¥0 


^mmmmmma 


^mm>mmmK^wm«\mi$mm'"MWt]mi 


Jackson  Rose 


JUNE    ♦    NINETEEN    •    THIRTY-ONE# 


WELCOME 
S.  M.  P.  E. 


*ES.U.  S.PAT.  OFF 


SMITH  &  ALLER,  LTD. 

6656  Santa  Monica  Boulevard  HOllywood  5147 

Hollywood,   California 

PACIFIC  COAST  DISTRIBUTORS  FOR 

Du  Pont  Pathe  Film  Mfg.  Corp. 

35  West  45th  Street  New  York  City 


THE 

V\ARK  OF. 


QUALITY 


MULTICOLOR. 


GREETINGS 

to 

S.  M.  P.  E 


Perfect  Definition  •  No  Fringe  •  No  Bleeding 
No  More  Lighting  Necessary  than  for  Black 
and  White  »You  Use  Your  Own  Camera  Staff 


Uniform 
Quality 
In 
Quantity 


Our  New   $1,500,000  Laboratory 


MULTICOLOR,  LTD. 

7000     ROMAINE     STREET 
HOllywood  7741 


Two 


The     INTERNATIONAL     PHOTOGRAPHER 


June,  19S1 


Lieut.  Geo.  W.  Goddard,  U.  S.  Air  Force,  uses 
the  Eyemo  for  official  aerial  cinematography 


Mr.  and  Mrs.  Martin  Johnson  use 
Eyemos  in  Africa 


Eyemo  in  news  reel  service — filming  Andre 
Tardieu,  French  statesman  and  former  Premier 


ie    ^jyemo 

35  turn*  auiomalic  liana  camera 

Three  Lens  Turret  .  .  .  Seven  Film  Speeds 


The  greatest  movie  in  the  world  has  always  yet  to  be  made 
—  and  it  may  be  made  with  a  Bell  &  Howell  Eyemo  by 
someone's  right  hand.  For  the  new  71-C  Eyemo  35  mm. 
hand  camera  provides  the  versatility  and  flexibility  of  the 
standard  camera  with  the  portability  of  a  16  mm.  machine. 

The  Eyemo's  three-lens  turret  accommodates  all  lenses 
ordinarily  used  on  any  Eyemo  model,  from  the  47  mm.  lens, 
which  is  standard  equipment,  up  to  the  6  inch  telephoto. 
Still  longer  lenses  may  be  interchanged  with  the  shorter 
ones.  An  optional,  less  compact  turret  accommodates  wide 
angle  and  longer  telephoto  lenses  without  interference. 
Remounting  lenses  used  on  former  models  to  fit  the  71-C 
turret  is  a  simple  factory  operation  and  costs  but  little. 

The  new  Eyemo  has  a  built-in  hand-crank  which  may  be 
used  instead  of  the  spring  motor  if  desired.  The  ro